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 LICHTENSTEINI 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.
More Roy Lichtenstein Quotes
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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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Art doesn’t transform. It just plain forms.
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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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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.
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In America the biggest is the best.
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I was at Rutgers University, and that was a center for Fluxus in a way. But it wasn’t what I was interested in.
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A number of artists have done things with Mickey Mouse – including Claes Oldenburg and Andy Warhol. He’s such an American symbol, and such an anti-art symbol.
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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.
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The things that I have apparently parodied I actually admire.
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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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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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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.
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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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Im interested in what would normally be considered the worst aspects of commercial art.
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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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