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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

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Change Come Gangbuster Interest Interesting Passage Sometimes Subtitle

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

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
We like to think of industrialization as being despicable.
ROY LICHTENSTEIN

Art Being Despicable Industrialization Interesting Like Thing Thinking
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.
ROY LICHTENSTEIN

Country Extremely Feeding Look Painting Person Romantic Since Something Unrealistic World
My use of evenly repeated dots and diagonal lines and uninflected color areas suggest that my work is right where it is, right on the canvas, definitely not a window into the world.
ROY LICHTENSTEIN

Area Canvas Color Diagonal Evently Repeated Suggest Tight Uninflect Use World
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
I like to pretend that my art has nothing to do with me.
ROY LICHTENSTEIN

Architecture Art Do Nothing Pretend
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
Color is crucial in painting, but it is very hard to talk about.
ROY LICHTENSTEIN

Color Crucial Hard Paint Talk
Use the worst colour you can find in each place – it usually is the best.
ROY LICHTENSTEIN

Best Colour Each Place Use Worst
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
Art doesn’t transform. It just plain forms.
ROY LICHTENSTEIN

Art Creative Education Form Plain Transform
I don’t really know what to make of it. There’s something terribly brittle about it. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comic strips are interesting as subject matter.
ROY LICHTENSTEIN

Basket Interest Make Matter Picnic Prefer Something Strip Subject Suppose Terribly
When I met Steve Kaufman, I thought he was Gene Simmons, but what an artist talent he is. He will be an art force in the art world to deal with.
ROY LICHTENSTEIN

Art Country Deal Force Met People Person Talent Work World
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
Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
ROY LICHTENSTEIN

Art Itself Looks Paint Pop Something World
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.
ROY LICHTENSTEIN

Architect Architecture Art Form Kind Result Think Thinking

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