“Everybody has called Pop Art 'American' painting, but it's 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.”

— 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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“Pop art is neither an American invention nor an import, yet the terms and names were coined in the US, where they were popularised much faster than in Germany. This kind of art has evolved organically and independently over here, yet at the same time it becomes an analogy to American pop art due to certain psychological, cultural and economical preconditions that are the same in Germany as they are in the US.... For the first time we are showing paintings in Germany that relate to those terms, representing pop art, junk culture, imperial or capitalistic realism, new figuration, naturalism, German pop and other comparable terms.”

Gerhard Richter (1932) German visual artist, born 1932

Quote from Richter's letter to 'Neue Deutsche Wochenschau', 29 April 1963; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1
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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

“Pop Art is the use of commercial art as a subject matter in painting, I suppose. It was hard to get a painting that was despicable enough so that no one would hang it – everybody was hanging everything. It was almost acceptable to hang a dripping paint rag, everybody [in America, mainly in New York, 1950s] was accustomed to this. The one thing everyone hated was commercial art; and apparently they didn’t hate that enough either.”

Roy Lichtenstein (1923–1997) American pop artist

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

“Pop Art is not painting because painting must have content and emotion.”

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“American industry is not free, as once it was free; American enterprise is not free; the man with only a little capital is finding it harder to get into the field, more and more impossible to compete with the big fellow.”

Woodrow Wilson (1856–1924) American politician, 28th president of the United States (in office from 1913 to 1921)

Section I: “The Old Order Changeth”, p. 15 http://books.google.com/books?id=MW8SAAAAIAAJ&pg=PA15&dq=%22American+industry+is+not+free%22
1910s, The New Freedom (1913)
Context: American industry is not free, as once it was free; American enterprise is not free; the man with only a little capital is finding it harder to get into the field, more and more impossible to compete with the big fellow. Why? Because the laws of this country do not prevent the strong from crushing the weak. That is the reason, and because the strong have crushed the weak the strong dominate the industry and the economic life of this country. No man can deny that the lines of endeavor have more and more narrowed and stiffened; no man who knows anything about the development of industry in this country can have failed to observe that the larger kinds of credit are more and more difficult to obtain, unless you obtain them upon the terms of uniting your efforts with those who already control the industries of the country; and nobody can fail to observe that any man who tries to set himself up in competition with any process of manufacture which has been taken under the control of large combinations of capital will presently find himself either squeezed out or obliged to sell and allow himself to be absorbed.

“.. 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