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 LICHTENSTEINI think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward – neo-Zen and all that. Pop Art looks out into the world. It doesn’t look like a painting of something, it looks like the thing itself.
More Roy Lichtenstein Quotes
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Im interested in what would normally be considered the worst aspects of commercial art.
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What interests me is to paint the kind of antisensitivity that impregnates modern civilization.
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I think the meaning of my work is that it is industrial, it’s what all the world will soon become. Europe will be the same way, soon, it won’t be American; it will be universal.
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The big tradition, I think, is unity. And I have that in mind; and with that, you know, you could break all the traditions- all the other so-called rules, because they are stylistic.. and most are not true.
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All my art is in some way about other art, even if the other art is cartoons.
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Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
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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 -
I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. It is Utopian. It has less and less to do with the world. It looks inward – neo-Zen and all that. Pop Art looks out into the world. It doesn’t look like a painting of something, it looks like the thing itself.
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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.
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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 the colors around it and what it will really look like. It’s only a guess at the beginning, and then I try to refine it.
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I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.
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Usually I begin things through a drawing, so a lot of things are worked out in the drawing. But even then, I still allow for and want to make changes.
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Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
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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.
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A number of artists have done things with Mickey Mouse – including Claes Oldenburg and Andy Warhol. He’s such an American symbol, and such an anti-art symbol.
ROY LICHTENSTEIN