A Quote by Roy Lichtenstein

Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this. — © Roy Lichtenstein
Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
Contradictions of perspective. Contrasts of light. Contrasts of form. Points of view impossible to achieve in drawing and painting. Foreshortenings with a strong distortion of the objects, with a crude handling of matter. Moments altogether new, never seen before compositions whose boldness outstrips the imagination of painters Then the creation of those instants which do not exist, contrived by means of photomontage. The negative transmits altogether new stimuli to the sentient mind and eye.
When you join a political party, you are attaching yourself with an organisation of skilled people. And when you work with an organisation, your working capacity becomes double. One can perform better with the help of an organisation to implement their thoughts.
I never felt comfortable in real life very well. It's always been an awkward kind of thing for me and so when I hit the stage I just sensed freedom. I sensed here's a place that I can have all the experiences of life and not feel uncomfortable about it.
I never felt comfortable in real life very well. It's always been an awkward kind of thing for me and so when I hit the stage I just sensed freedom. I sensed, 'Here's a place that I can have all the experiences of life and not feel uncomfortable about it.'
I am very much a scientist, and so I naturally have thought about religion also through the eyes of a scientist. When I do that, I see religion not denominationally, but in a more, let us say, deistic sense. I have been influence in my thinking by the writing of Einstein who has made remarks to the effect that when he contemplated the world he sensed an underlying Force much greater than any human force. I feel very much the same. There is a sense of awe, a sense of reverence, and a sense of great mystery.
You say, The sensed absence of God and the sensed presence amount to much the same thing, only in reverse.
Why was the painting made? What ideas of the artist can we sense? Can the personality and sensitivity of the artist be felt when studying the work? What is the artist telling us about his or her feelings about the subject? What response do I get from the message of the artist? Do I know the artist better because of the painting?
One learns about painting by looking at and imitating other painters. I can't stress enough how important it is, if you are interested at all in painting, to look and to look a great deal at painting. There is no other way to find out about painting.
I guess it was this over-riding feeling I wanted people to get from the album - a kind of positivity. On the one hand it's quite a sad record, but I wanted the songs in essence to be about pulling yourself out of a difficult time. So I thought that the idea of day after a really long, difficult night, would be pretty appropriate... I think the album's about contrasts too - contrasts of emotion - so I thought the comparison was appropriate.
No one should have extra influence on an organisation. We should always regard ourselves as equals in the organisation, and we should be concerned about each other's problems.
[Albert Camus] positions are sensed. So, naturally, those intellectuals who don't have that experience have difficulty in comprehending it. But I think it made Camus more tolerant because he had already seen both sides of things when the others had only ever seen one. They imagine poverty, but they don't know what it is. In fact they've got a sort of bad conscience about the working classes.
There are absences, but there are also presences. It's about how painting can evolve its own abstractions. I didn't know the painting was going to be about that, but it has to have that journey; I have to learn something, I have to end up somewhere I didn't expect to be, otherwise, I don't think it's painting.
In human affairs, no single person, organisation or social formation ever has a final or an absolutely correct position. It is through conversation, debate and critical discussion that we approach positions that may provide workable solutions.
Painting doesn't have a function, not in the way that music or film does... I mean, you can dance to music. Music can be used for a soundtrack, so it has a function in that sense, beyond itself. But painting doesn't... But I do believe that painting has a purpose.
From dawn to dusk, winter to spring, summer & autumn; the contrasts of nature refresh the mind & renew our sense of balance
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