Roy Lichtenstein quotes:

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 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.

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.

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.

Outside is the world; it's there. Pop Art looks out into the world.

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.

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.

Pop Art looks out into the world. It doesn't look like a painting of something, it looks like the thing itself.

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.

Pop Art looks out into the world. It doesnt look like a painting of something, it looks like the thing itself.

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.

I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.

I think that most people think painters are kind of ridiculous, you know?

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.

Art doesn't transform. It just plain forms.

I don't have big anxieties. I wish I did. I'd be much more interesting.

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.

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 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.

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.

Color is crucial in painting, but it is very hard to talk about.

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.

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.

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'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.

I don't have big anxieties. I wish I did. I'd be much more interesting

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.

All my art is in some way about other art, even if the other art is cartoons.

Color is crucial in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make.

I dont have big anxieties. I wish I did. Id be much more interesting.

I like to pretend that my art has nothing to do with me.

I take a cliche and try to organize its forms to make it monumental. The difference is often not great, but it is crucial.

I'd always wanted to know the difference between a mark that was art and one that wasn't.

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.

I'm never drawing the object itself; I'm only drawing a depiction of the object - a kind of crystallized symbol of it.

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.

In America the biggest is the best.

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.

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.

Organized perception is what art is all about.

Painting stems from a sense of organisation, the sensed positions of contrasts. Not that it is about this.

People think one-point and two-point perspective is how the world actually looks, but of course, it isn't. It's a convention.

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.

The things that I have apparently parodied I actually admire,

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.

Use the worst colour you can find in each place - it usually is the best.

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.

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.