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People think one-point and two-point perspective is how the world actually looks, but of course, it isn’t. It’s a convention.

Roy Lichtenstein

Related Topics

Actual Convention Course Look People Perspective Point Think Thinking Two

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Marilyn Monroe Paulo Coelho Abraham Lincoln C. S. Lewis Khalil Gibran Charlie Chaplin Gautama Buddha Isaac Newton

Organized perception is what art is all about.
ROY LICHTENSTEIN

Art Organized Perception
As long as the marks are related to one another, there is unity. Unity in the work itself depends on unity of the artist’s vision.
ROY LICHTENSTEIN

Another Artist Depend Itself Long Mark Relate Unity Vision
Picasso’s always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
ROY LICHTENSTEIN

Always Away Cartoon Done Influence Painting Picasso Start Such Thing
I think that most people think painters are kind of ridiculous, you know?
ROY LICHTENSTEIN

Kind Know Most Painter People Ridiculous Thinking
People mistake the character of line for the character of art. But it’s really the position of line that’s important, or the position of anything, any contrast, not the character of it.
ROY LICHTENSTEIN

Anything Character Contrast Important Line People Position
We like to think of industrialization as being despicable.
ROY LICHTENSTEIN

Art Being Despicable Industrialization Interesting Like Thing Thinking
I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.
ROY LICHTENSTEIN

Between Cliched Fact Rigid Seem Tension Think Way
Outside is the world; it’s there. Pop Art looks out into the world.
ROY LICHTENSTEIN

Art Look Out Outside Pop World
The things that I have apparently parodied I actually admire.
ROY LICHTENSTEIN

Actual Admire Apparently Paradied Thing
There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you’re trying to make.
ROY LICHTENSTEIN

Almost Certain Consistency Depend Field Generalization Hold Make Modulation Nothing Say Statement Try
I kind of do the drawing with the painting in mind, but it’s very hard to guess at a size or a color and all the colors around it and what it will really look like.
ROY LICHTENSTEIN

Around Color Draw Drawing Gesture Guess Hard Mind Panting Size
Yeah, you know, you like it to come on like gangbusters, but you get into passages that are very interesting and subtle, and sometimes your original intent changes quite a bit.
ROY LICHTENSTEIN

Change Come Gangbuster Interest Interesting Passage Sometimes Subtitle
You forget that this has been thirty five years now and people don’t look at it as if it were some kind of oddity.
ROY LICHTENSTEIN

Being Five Forget Kind Look Now Oddity People Some Thirty Years
All my art is in some way about other art, even if the other art is cartoons.
ROY LICHTENSTEIN

Art Cartoon Even Some Way
All of it had an impact – as did happenings – because I could see that art was changing from expressionism, which I was doing at the time, or thought I was doing. But it wasn’t the direction I really wanted to go.
ROY LICHTENSTEIN

All Change Direction Expression Happen Impact Thought Time Want
Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
ROY LICHTENSTEIN

Contrast Organisation Painting Position Stem

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