Top 78 Quotes & Sayings by Roy Lichtenstein
Explore popular quotes and sayings by an American artist Roy Lichtenstein.
Last updated on September 18, 2024.
In America the biggest is the best.
I'm trying to make paintings like giant musical chords, with a polyphony of colours that is nuts but works.
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.
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.
Something terrible can happen in my life, but I wouldn't put it in my art.
I think that most people think painters are kind of ridiculous, you know?
We like to think of industrialization as being despicable. I don't really know what to make of it. There's something terribly brittle about it.
Everybody has called Pop Art 'American' painting, but it's actually industrial painting.
I don't think there is any question that Picasso is the greatest figure of the 20th century.
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.
I'm not really sure what social message my art carries, if any. And I don't really want it to carry one. I'm not interested in the subject matter to try to teach society anything, or to try to better our world in any way.
I don't have big anxieties. I wish I did. I'd be much more interesting.
I've never done an anguished painting.
You know, as you compose music, you're just off in your own world. You have no idea where reality is, so to have an idea of what people think is pretty hard.
Making something good and saying something brilliant are not two things. When you make your own statement, there is a higher energy level, and you do better painting.
My work isn't about form. It's about seeing.
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.
I don't know why you'd want to say your work comes from nature, because art is related to perception, not nature. All abstract artists try to tell you that what they do comes from nature, and I'm always trying to tell you that what I do is completely abstract. We're both saying something we want to be true.
The importance of art is in the process of doing it, in the learning experience where the artist interacts with whatever is being made.
When I started to do these Pop paintings seriously, I used all these other paintings - the abstract ones - as mats. I was painting in the bedroom, and I put them on the floor so I wouldn't get paint on the floor. They got destroyed.
I think you go nuts when you get older.
But 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.
I think we're much smarter than we were. Everybody knows that abstract art can be art, and most people know that they may not like it, even if they understand there's another purpose to it.
I like to pretend that my art has nothing to do with me.
Art doesn't transform. It just plain forms.
I'm interested in what would normally be considered the worst aspects of commercial art. I think it's the tension between what seems to be so rigid and cliched and the fact that art really can't be this way.
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.
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.
When I have used cartoon images, I've used them ironically to raise the question, 'Why would anyone want to do this with modern painting?'
I thought art was a sort of romantic life, or I don't know what I thought art was like. But I learned practically everything I know from Ohio State. And I'm really glad I went.
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.
I wasn't sure pop art or my work would last more than six months.
I think there's the apparent lack of subtlety and sort of make-believe anti-sensibility connected with American art. I think this is a style, and it does relate to our culture, and I think it would be anachronistic maybe to pretend to be involved with subtle changes and modulations and things like that, because it's really not part of America.
Picasso's sculpture has incredible strength combined with a lack of pomposity.
Actually, I love the Abstract Expressionists - or I like the ones I like, anyway.
The U.S. museums weren't looking at my paintings at all - they hated them, irredeemably. People metaphorically threw up when they saw my work! They thought I was enlarging comics, or just copying them.
I drew as a child, they tell me. I can vaguely remember doing it. And then I drew again in the late years at high school.
Pollock really invented something. No one painted like him - or de Kooning or Still.
I think art was the one thing my high school didn't give. And I think that was probably one reason why I was interested in it.
Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.
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.
When I was going to school and under the influence of Abstract Expressionism, I believed that if you had a give-and-take rapport with your work that it would be you, and that would be all that was required. It would be honest, and the core of your personality would come out if you responded to position and contrasts in your work.
I don't think that my art isn't serious. I think the subjects are not serious, or my treatments of the subjects are not serious. But then, I'm also putting down subject, because like the abstract expressionists, I don't think the subject is important.
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.
I'm excited about seeing things, and I'm interested in the way I think other people saw things.
Organized perception is what art is all about.
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.
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.
Outside is the world; it's there. Pop Art looks out into the world.
Use the worst colour you can find in each place - it usually is the best.
I'd always wanted to know the difference between a mark that was art and one that wasn't.
There must be something about art... almost all cultures have done art. It's a refining of the senses, which are there to keep us alive. As far as we know, no other animals do that.
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.
I dont have big anxieties. I wish I did. Id be much more interesting.
All my art is in some way about other art, even if the other art is cartoons.
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.
I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.
Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.
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.
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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