Organized perception is what art is all about.
ROY LICHTENSTEINYeah, 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.
More Roy Lichtenstein Quotes
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We’re not living in a school-of-Paris world, you know, and the things we really see in America are like this. It’s McDonald’s, it’s not Le Corbusier.
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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.
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There are certain things that are usable, forceful, and vital about commercial art. We’re using those things – but we’re not really advocating stupidity, international teenagerism, and terrorism.
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I think its the tension between what seems to be so rigid and cliched and the fact that art really cant be this way.
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Use the worst colour you can find in each place – it usually is the best.
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Im interested in what would normally be considered the worst aspects of commercial art.
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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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Personally, I feel that in my own work I wanted to look programmed or impersonal but I don’t really believe I am being impersonal when I do it. And I don’t think you could do this.
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Color is crucial in painting, but it is very hard to talk about.
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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 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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Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
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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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Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist.
ROY LICHTENSTEIN -
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