“I paint directly – then it's said to be an exact copy; and not art, probably because there's no perspective or shading. It doesn't look like a painting of something, it looks like the thing itself. Instead of looking like a painting of a billboard – the way a w:Reginald Marsh would look – Pop Art seems to be the actual thing. It is intensification, a stylistic intensification of the excitement which the subject matter has for me; but the style is, as you said, cool.”

— Roy Lichtenstein

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

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Roy Lichtenstein 15

American pop artist 1923–1997

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“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 doesn't look like a painting of something, it looks like the thing itself.”

Roy Lichtenstein (1923–1997) American pop artist

Quote of Lichtenstein in: Interview by G.R. Swenson (1963); as quoted in Painters on Painting, Eric Protter (1971) p. 263
1960's

“In Abstract Expressionism the paintings symbolize the idea of ground-directedness as opposed to object-directedness. You put something down, react to it, put something else down, and the painting itself becomes a symbol of this. The difference is that rather than symbolize this ground-directedness I do an object-directed appearing thing. There is humor here. The work is still ground-directed; the fact that it's an eyebrow or an almost direct copy of something is unimportant. The ground-directedness is in the painter's mind and not immediately in apparent in the painting. Pop Art makes the statement that ground-directedness is not a quality that the painting has because of what it looks like…”

Roy Lichtenstein (1923–1997) American pop artist

Source: 1960's, What is Pop Art? Interviews with eight painters' (1963), pp. 25-27

“I think they [the public] should not look for, but look passively — and try to receive what the painting has to offer and not bring a subject matter or preconceived idea of what they are to be looking for... and I think the unconsciousness drives do mean a lot in looking at paintings... I think it should enjoyed just as music is enjoyed — after a while you may like it or you may not. But it doesn't seem to be too serious. I like some flowers, and others, other flowers I don't like. I think at least it gives — at least give it a chance.”

Jackson Pollock (1912–1956) American artist

Source: 1950's, Interview by William Wright, Summer 1950, pp. 139-140

“On the way I stood a moment looking out across the marshes with tall cattails, a patch of water, more marsh, then the woods with a few birch trees shining white at the edge on beyond. In the darkness it all looked just like I felt. Wet and swampy and gloomy, very gloomy. In the morning I painted it. My memory of it is that it was probably my best painting that summer..”

Georgia O'Keeffe (1887–1986) American artist

About the summer of Art Students League, New York 1913/14
1970s, Some Memories of Drawings (1976)

“.. because his applying paint to it [the sculpture 'Painted Bronze, two painted ale cans', created by the American pré-Pop Art artist Jasper Johns ] was absolutely mechanical or, at least, as close to the printed thing as possible. It was not an act of painting; actually, the printing [or painting? ] was just like printing except it was made by hand by him. That doesn’t add a thing to it.”

Marcel Duchamp (1887–1968) French painter and sculptor

it's just the idea of imitating the beer can that is important.
Quote from 'Some late thoughts of Marcel Duchamp', an interview with Jeanne Siegel, p. 21; as quoted in 'The New York school – the painters & sculptors of the fifties' Irving Sandler, Harper & Row, Publishers, 1978, p. 194
posthumous

“I deal with painting as I deal with things, I paint a window just as I look out of a window. If an open window looks wrong in a picture, I draw the curtain and shut it, just as I would in my own room. In painting, as in life, you must act directly.”

Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

Herschel Browning Chip (1968, p. 271).
1930s, "Conversations avec Picasso," 1934–35

“The Cobra group started new, and first of all we threw away all these things we had known and started afresh, like a child — fresh and new. Sometimes my works look very childish, or childlike, schizophrenic or stupid, you know. But that was the good thing for me. Because, for me, the material is the paint itself. The paint expresses itself. In the mass of paint, I find my imagination and go on to paint it.”

Karel Appel (1921–2006) Dutch painter, sculptor, and poet

Quoted in: 'Karel Appel, Dutch Expressionist Painter, Dies at 85', by Margalit Fox, in 'Art & Design', New York Times May 9, 2006
Quote of an oral history in 'Contemporary Artists' - Karel Appel describes the wild artistic urgency that gave rise to the Cobra artist-group

“If the world really looks like that I will paint no more!”

Claude Monet (1840–1926) French impressionist painter

“Paint never seems to behave the same. Even the same paint doesn't, you know. In other words, if you use the same white or black or red, through the use of it, it never seems to be the same. It doesn't dry the same. It doesn't stay there and look at you the same way. Other things seem to affect it. There seems to be something that you can do so much with paint and after that you start murdering it..”

Franz Kline (1910–1962) American painter

n.p.
1960's, Living Art, 1963

“It all began with my painting a picture of an American flag. Using this design took care of a great deal for me because I didn't have to design it. So I want on to similar things like the targets things the mind already knows. That gave me room to work on other levels. For instance, I've always thought of a painting as a surface; painting it in one color made this very clear... A picture ought to be looked at the same way you look at a radiator.”

Jasper Johns (1930) American artist

His heart belong to DADA, Time 73, 4 May, 1959: 58; as quoted in Jasper Johns, Writings, sketchbook Notes, Interviews, ed. Kirk Varnedoe, Moma New York, 1996, p. 82
1950s

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