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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.

Roy Lichtenstein

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In America the biggest is the best.
ROY LICHTENSTEIN

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Outside is the world; it’s there. Pop Art looks out into the world.
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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.
ROY LICHTENSTEIN

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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

Anything Expressionist Next Normal Oddities Painting Sometimes Strange Think Thinking Year
And I dont really want it to carry one. Im not interested in the subject matter to try to teach society anything, or to try to better our world in any way.
ROY LICHTENSTEIN

Anything Better Carry Interested Matter Really Society Subject Teach Want Way
The things that I have apparently parodied I actually admire.
ROY LICHTENSTEIN

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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.
ROY LICHTENSTEIN

Come Draw Lot Mind Painting Thing Trying Usually Worl Yeah
Im not really sure what social message my art carries, if any.
ROY LICHTENSTEIN

Art Carries Message Our Really Social Sure Trying World
I dont have big anxieties. I wish I did. Id be much more interesting.
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Anxiety Art Interest Interesting More Much
I don’t think that I’m over his influence but they probably don’t look like Picassos; Picasso himself would probably have thrown up looking at my pictures.
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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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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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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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Color is crucial in painting, but it is very hard to talk about.
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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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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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