During the 1960s, along with Andy Warhol, Jasper Johns, and James Rosenquist among others, he became a leading figure in the new art movement. But even then, I still allow for and want to make changes.”, “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. I’m excited about seeing things, and I’m interested in the way I think other people see things. Not that it is about this. Join 48,000+ other people and subscribe to Quotefancy Weekly Digest. 'How can you like bad 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. Born October 27, 1923. Roy Lichtenstein — American Artist born on October 27, 1923, died on September 29, 1997 Roy Fox Lichtenstein was an American pop artist. Interviews with eight painters' (1963), Oral history interview with Roy Lichtenstein, 1963 November 15-1964 January 15; Archives of American Art, Smithsonian Institution, Deconstructing Roy Lichtenstein (sources for Lichtenstein's comic-book paintings), https://en.wikiquote.org/w/index.php?title=Roy_Lichtenstein&oldid=2827600, Creative Commons Attribution-ShareAlike License, What interests me is to paint the kind of anti-sensitivity that impregnates modern civilization. Un’opera di Roy Lichtenstein. The difference is often not great, but it is crucial. 'How can you [accept] exploitation?' And I don’t think you could do this.”, “Painting stems from a sense of organisation, the sensed positions of contrasts. I think its the tension between what seems to be so rigid and cliched and the fact that art really cant 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 usually I begin things through a drawing, so a lot of things are worked out in the drawing. It is Utopian. Art doesn't transform. Sourced quotations by the American Pop artist Roy Lichtenstein (1923 — 1997) about art, painting and work. If an artist can't do anymore, then he should just quit; and an artist ought to be able to change his style without feeling bad. It was hard to get a painting that was despicable enough so that no one would hang it – everybody was hanging everything. Outside is the world; it’s there. The difference is that rather than symbolize this ground-directedness I do an object-directed appearing thing. It just plain forms. I think art since Cezanne has become extremely romantic and unrealistic, feeding on art. He's working with paint, not nature; he's making a painting, he's forming. 'How can you like the complete mechanization of work?' It is intensification, a stylistic intensification of the excitement which the subject matter has for me; but the style is, as you said, cool. I think the meaning of my work is that it is industrial, it’s what all the world will soon become. This is not so much a criticism as an obvious observation. The purpose is different, one intends to depict and I intend to unify. I think my work is different from comic strip – but I wouldn't call it transformation.. .What I do is form, whereas the comic strip is not formed in the sense I'm using the word; the comics have shapes, but there has been no effort to make them intensely unified. Instead of looking like a painting of a billboard – the way a. 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. I think my work is different from comic strips – but I wouldn't call it transformation; I don't think that whatever is meant by it is important to art. In Abstract Expressionism the paintings symbolize the idea of ground-directedness as opposed to object-directedness. In questo contesto così complesso e straordinariamente rapido nelle sue trasformazioni, Roy Lichtenstein realizzò una sua personale visione dell’America. È un modo per sfuggire alla stupidità di fare quel genere di cosa in modo che la cosa si trasformi in un non dipinto, ma allo stesso tempo sia un dipinto.” Color is crucial in painting, but it is very hard to talk about. Pop Art looks out into the world. 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. Frasi, citazioni e aforismi di Roy Lichtenstein 5 in italiano “Faccio una natura morta, ma fare una natura morta mi appare un'attività così stupida che non voglio essere là a fare una natura morta. My work is actually different from comic strips in that every mark is really in a different place, however slight the difference seems to some. Europe will be the same way, soon, it won’t be American; it will be universal. I have to answer that I accept it as being there, in the world. I’m excited about seeing things, and I’m interested in the way I think other people see things.”, “Pop Art looks out into the world. 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. Organized perception is what is art all about.. .It is a process. 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. I think that most people think painters are kind of ridiculous, you know? And my work is actually different form comic strips in that every mark is really in a different place. You have no idea where reality is, so to have an idea of what people think is pretty hard.”, “Pop Art is industrial painting. This Neo-Dada, which they call New Realism. The difference is often not great, but it is crucial.”, “My work isn’t about form. There are certain things that are usable, forceful, and vital about commercial art. Not that it is about this.”, “There is a relationship between cartooning and people like Mir? I'm never drawing the object itself; I'm only drawing a depiction of the object - a kind of crystallized symbol of it. my work is actually different from comic strips in that every mark is really in a different place, however slight the difference seems to some. I like to pretend that my art has nothing to do with me. 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. American Artist. Swenson (1963); as quoted in, 'How can you [accept] exploitation?' The purpose is different, one intends to depict and I intend to unify. The difference is often not great, but it is crucial. I think the meaning of my work is that it is industrial, it’s what all the world will soon become. The work is still ground-directed; the fact that it's an eyebrow or an almost direct copy of something is unimportant. Europe will be the same way, soon, so it [Pop Art] won't be American; it will be universal. It has had less and less to do with the world, it looks inward – neo Zen and all that. You put something down, react to it, put something else down, and the painting itself becomes a symbol of this. Pop Art looks out into the world. 33 Wallpapers With Roy Lichtenstein Quotes. You have no idea where reality is, so to have an idea of what people think is pretty hard. Pop Art is the use of commercial art as a subject matter in painting, I suppose. Artists have never worked with the model – just with the painting. I think art since, Quote of Lichtenstein in: Interview by G.R. Outside is the world; it's there. Enjoy the best Roy Lichtenstein quotes and picture quotes! It just plain forms.”, “I don’t think of form as a kind of architecture. Art doesn’t transform. We're using those things – but we're not really advocating stupidity, international teenagerism and terrorism. The difference is often not great, but it is crucial. However slight the difference seems to some. To express this thing in a painterly style would dilute it; the techniques I use are not commercial, they only appear to be commercial – and the ways of seeing and composing and unifying are different and have different ends. Well, it [Pop Art] is an involvement with what I think to be the most brazen and threatening characteristics of our culture, things we hate, but which are also powerful in their impingement on us. I think art since Paul Cezanne has become extremely romantic and unrealistic, feeding on art; it is utopian. We’re using those things – but we're not really advocating stupidity, international teenagerism and terrorism. 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. Everybody has called Pop Art 'American' painting, but it's actually industrial painting. I suppose I would still prefer to sit under a tree with a picnic basket rather than under a gas pump, but signs and comics are interesting as subject matter. 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. What you [G. R. Swenson, the interviewer] are really saying is that an artist like. Organized perception is what art is all about. When I met Steve Kaufman, I thought he was Gene Simmons, but what an artist talent he is. It doesnt look like a painting of something, it looks like the thing itself.”, “Use the worst colour you can find in each place – it usually is the best.”, “Yes, you know sometimes, we started out thinking out how strange our painting was next to normal painting, which was anything expressionist. The one thing everyone hated was commercial art; and apparently they didn't hate that enough either. It has nothing to do with any external form the painting takes, it has to do with a way of building a unified pattern of seeing... Artists have never worked with the model – just with the painting. I like to pretend that my art has nothing to do with me. Im interested in what would normally be considered the worst aspects of commercial art. What I do is form, whereas the comic strip is not formed in the sense I'm using the word; the comics have shapes but there has been no effort to make them intensely unified. and Picasso which may not be understood by the cartoonist, but it definitely is related even in the early Disney. 'How can you like the complete. But usually I begin things through a drawing, so a lot of things are worked out in the drawing.

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