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 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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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.
ROY LICHTENSTEIN -
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.
ROY LICHTENSTEIN -
My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way….
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I think that most people think painters are kind of ridiculous, you know?
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Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
ROY LICHTENSTEIN -
I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.
ROY LICHTENSTEIN -
I’d always wanted to know the difference between a mark that was art and one that wasn’t.
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 -
The things that I have apparently parodied I actually admire.
ROY LICHTENSTEIN -
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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Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist.
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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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Im interested in what would normally be considered the worst aspects of commercial art.
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Color is crucial in painting, but it is very hard to talk about.
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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 all the colors around it and what it will really look like.
ROY LICHTENSTEIN