Roy Lichtenstein Quotes
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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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Color is crucial in painting, but it is very hard to talk about.
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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.
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Use the worst colour you can find in each place - it usually is the best.
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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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There is a relationship between cartooning and people like Mir? and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney.
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Im not really sure what social message my art carries, if any. 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.
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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 that most people think painters are kind of ridiculous, you know?
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Art doesn't transform. It just plain forms.
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The big tradition, I think, is unity. And I have that in mind; and with that, you know, you could break all the traditions- all the other so-called rules, because they are stylistic.. and most are not true. 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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Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
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Picasso's always been such a huge influence that I thought when I started the cartoon paintings that I was getting away from Picasso, and even my cartoons of Picasso were done almost to rid myself of his influence.
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Organized perception is what art is all about.
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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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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.
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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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What interests me is to paint the kind of antisensitivity that impregnates modern civilization. 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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I'd always wanted to know the difference between a mark that was art and one that wasn't.
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Color is crucial in painting, but it is very hard to talk about. 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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My work isn't about form. It's about seeing. I'm excited about seeing things, and I'm interested in the way I think other people see things.
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Outside is the world; it's there. Pop Art looks out into the world.
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Pop Art is industrial painting. 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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The things that I have apparently parodied I actually admire.
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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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Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist. You forget that this has been thirty five years now and people don't look at it as if it were some kind of oddity.
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All my art is in some way about other art, even if the other art is cartoons.
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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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Im interested in what would normally be considered the worst aspects of commercial art. 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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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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