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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.

Roy Lichtenstein

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Roy Lichtenstein
Age: 73 †
Born: 1923
Born: October 27
Died: 1997
Died: September 29
Artist
Designer
Jewelry Designer
Lithographer
Painter
Scenographer
Sculptor
University Teacher
Manhattan borough
New York City
Roy Fox Lichtenstein
Roy F. Lichtenstein
Tree
Baskets
Interesting
Gas
Rather
Signs
Picnic
Stills
Prefer
Strips
Still
Suppose
Picnics
Matter
Comic
Pump
Would
Subject
Basket
Subjects
Pumps

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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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People think one-point and two-point perspective is how the world actually looks, but of course, it isn't. It's a convention.
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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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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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When I met Steve Kaufman, I thought he was Gene Simmons, but what an artist talent he is. He will be an art force in the art world to deal with.
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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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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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Organized perception is what art is all about.
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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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Use the worst colour you can find in each place - it usually is the best.
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Outside is the world it's there. Pop Art looks out into the world.
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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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Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.
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Color is crucial in painting, but it is very hard to talk about.
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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.
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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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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.
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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.
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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.
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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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