I'd always wanted to know the difference between a mark that was art and one that wasn't. Roy Lichtenstein More Quotes by Roy Lichtenstein More Quotes From Roy Lichtenstein 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. Roy Lichtenstein visionpeoplethinking Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself. Roy Lichtenstein looksworldart 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. Roy Lichtenstein animalcultureart Organized perception is what art is all about. Roy Lichtenstein art-isperceptionart I like to pretend that my art has nothing to do with me. Roy Lichtenstein architectureart 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 Lichtenstein coloruseworld 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. Roy Lichtenstein europeartthinking I'm never drawing the object itself; I'm only drawing a depiction of the object - a kind of crystallized symbol of it. Roy Lichtenstein depictiondrawingkind Use the worst colour you can find in each place - it usually is the best. Roy Lichtenstein worstcolouruse 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. Roy Lichtenstein our-worldtryingart Outside is the world; it's there. Pop Art looks out into the world. Roy Lichtenstein looksworldart 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. Roy Lichtenstein civilizationartthinking I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial. Roy Lichtenstein clichedifferencestrying All my art is in some way about other art, even if the other art is cartoons. Roy Lichtenstein ifswayart 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. Roy Lichtenstein world Art doesn't transform. It just plain forms. Roy Lichtenstein art-educationcreativeart 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. Roy Lichtenstein artistlongthinking My work sanitizes it (emotion) but it is also symbolic of commercial art sanitizing human feelings. I think it can be read that way.... 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. Roy Lichtenstein mistakecharacterart People think one-point and two-point perspective is how the world actually looks, but of course, it isn't. It's a convention. Roy Lichtenstein twopeoplethinking 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. 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. There are certain things that are usable, forceful, and vital about commercial art. We're using those things – but we're not really advocating stupidity, international teenagerism, and terrorism. Roy Lichtenstein artinterestingthinking
