"Artists have never worked with the model – just with the painting. What you [G. R. Swenson, the interviewer] are really saying is that an artist like Cézanne transforms what we think the painting ought to look like into something he thinks it ought to look like. He’s working with paint, not nature; he’s making a painting, hes forming. I think my work is different from comic strips – but I wouldnt call it transformation; I dont think that whatever is meant by it is important to 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. The purpose is different, one intends to depict and I intend to unify."
Roy Fox Lichtenstein was an American artist. A leading figure of the Pop Art movement, he is best known for his large-scale paintings inspired by comic books, advertisements, and mass-produced imagery. Lichtenstein's art is represented in major museum collections worldwide, and he remains one of the most influential and recognizable artists of the 20th century.
"What interests me is to paint the kind of anti-sensitivity 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 doesnt look like a painting of something, it looks like the thing itself."
"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. There are certain things that are usable, forceful, and vital about commercial art. We’re using those things – but were not really advocating stupidity, international teenagerism and terrorism."
"Everybody has called Pop Art American painting, but its actually industrial painting. America was hit by industrialism and capitalism harder and sooner and its values see more askew.. .I think the meaning of my work is that it’s industrial; it’s what all the world will soon become. Europe will be the same way, soon, so it [Pop Art] won’t be American; it will be universal."
"I think my work is different from comic strip – but I wouldnt call it transformation.. .What I do is form, whereas the comic strip is not formed in the sense Im using the word; the comics have shapes, but there has been no effort to make them intensely unified. The purpose is different, one intends to depict and I intend to unify. And my work is actually different form comic strips in that every mark is really in a different place. However slight the difference seems to some."
"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. The difference is often not great, but it is crucial."
"How can you [accept] exploitation? How can you like the complete mechanization of work? How can you like bad art? I have to answer that I accept it as being there, in the world."
"[explaining to Ernie how April apologized to him] She just showed up at the factory, took off her coat, and begged me to take her. We made love in a way that Ive only ever seen in nature films."
MouseHunt (film)"All men suppose what is called Wisdom to deal with the first causes and the principles of things; so that, as has been said before, the man of experience is thought to be wiser than the possessors of any sense-perception whatever, the artist wiser than the men of experience, the masterworker than the mechanic, and the theoretical kinds of knowledge to be more of the nature of Wisdom than the productive."
Theory"The yarns of seamen have a direct simplicity, the whole meaning of which lies within the shell of a cracked nut. But Marlow was not typical (if his propensity to spin yarns be excepted), and to him the meaning of an episode was not inside like a kernel but outside, enveloping the tale which brought it out only as a glow brings out a haze, in the likeness of one of these misty halos that sometimes are made visible by the spectral illumination of moonshine."
"Going up that river was like traveling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings. An empty stream, a great silence, an impenetrable forest. The air was warm, thick, heavy, sluggish. There was no joy in the brilliance of sunshine. The long stretches of the waterway ran on, deserted, into the gloom of overshadowed distances."
"The intimate rapport with nature is one of the most precious things in life. Nature is indeed very close to us; sometimes closer than hands and feet, of which in truth she is but the extension. The emotional appeal of nature is tremendous, sometimes almost more than one can bear."
Jan Smuts"Are people naturally destructive, immoral, predatory and self-seeking, only to be kept in order by harsh laws and fiercely deterrent mandatory sentences? Or are men and women naturally orderly, merciful, humane and bred with a need for justice and mutual aid? Of course these qualities, or defects, are not evenly distributed, and undoubtedly there is much of each in all of us, but when it comes to the law some sort of distinction can be drawn. Are you a Shylock or a Bassanio? Shylock pinned his faith on the words in the contract, the nature of his bond and the duty of the state to uphold the letter of the law regardless of human suffering. Bassanio put another point of view. More important than the sanctity of the law was the plight of the individual parties in the particular case."