Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEINPeople 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.
More Roy Lichtenstein Quotes
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My direction is very anti-contemplative. If you thought I was for commercial products, you’d think there was no irony. The irony isn’t meant to be an ironic comment on our society, exactly.
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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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There is a relationship between cartooning and people like Mir? and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.
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I’d always wanted to know the difference between a mark that was art and one that wasn’t.
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But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
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I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
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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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I’m never drawing the object itself; I’m only drawing a depiction of the object – a kind of crystallized symbol of it.
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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.
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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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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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We like to think of industrialization as being despicable.
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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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Im interested in what would normally be considered the worst aspects of commercial art.
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But 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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