... landscapes or still-lifes I paint in between the abstract works; they constitute about one-tenth of my production. On the one hand they are useful, because I like to work from nature - although I do use a photograph - because I think that any detail from nature has a logic I would like to see in abstraction as well.

Gerhard Richter

Categorized in : Thinking Art Hands

Art is the highest form of hope.

Gerhard Richter

art-is form art

To believe, one must have lost God. To paint, one must have lost art.

Gerhard Richter

paint believe art

I pursue no objectives, no systems, no tendency; I have no program, no style, no direction. I have no time for specialized concerns, working themes, or variations that lead to mastery. I steer clear of definitions. I don’t know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty.

Gerhard Richter

mastery style want

To talk about paintings is not only difficult but perhaps pointless too. You can only express in words what words are capable of expressing-- what language can communicate. Painting has nothing to do with that.

Gerhard Richter

painting difficult language

If the abstract paintings show my reality, then the landscapes and still-lifes show my yearning.

Gerhard Richter

abstract-painting reality art

I pursue no intentions, no directions; I have no program, no style and no mission.

Gerhard Richter

program intention style

It is a danger to wait around for an idea to occur to you. You have to find the idea.

Gerhard Richter

danger waiting ideas

Now there are no priests or philosophers left, artists are the most important people in the world.

Gerhard Richter

important people art

Abstract pictures are fictive models, because they make visible a reality that we can neither see nor describe, but whose existence we can postulate.

Gerhard Richter

existence abstract reality

I would like to try to understand what is. We know very little, and I am trying to do it by creating analogies. Almost every work of art is an analogy.

Gerhard Richter

creating understanding art

Art is not a substitute religion: it is a religion (in the true sense of the word: 'binding back', 'binding' to the unknowable, transcending reason, transcendent being). But the church is no longer adequate as a means of affording experience of the transcendental, and of making religion real - and so art has been transformed from a means into the sole provider of religion: which means religion itself.

Gerhard Richter

real mean art

Since there is no such thing as absolute rightness and truth, we always pursue the artificial, leading, human truth. We judge and make a truth that excludes other truths. Art plays a formative part in this manufacture of truth.

Gerhard Richter

judging play art

I believe that the quintessential task of every painter in any time has been to concentrate on the essential.

Gerhard Richter

essentials tasks believe

I've never found anything to be lacking in a blurry canvas. Quite the contrary: you can see many more things in it than in a sharply focused image. A landscape painted with exactness forces you to see a determined number of clearly differentiated trees, while in a blurry canvas you can perceive as many trees as you want. The painting is more open.

Gerhard Richter

tree numbers art

You can compare it to dreams: you have a very specific and individual pictorial language that you either accept or that you can translate rashly and wrongly. Of course, you can ignore dreams, but that would be a shame, because they're useful.

Gerhard Richter

language would-be dream

Of course I constantly despair at my own incapacity, at the impossibility of ever accomplishing anything, of painting a valid, true picture or even knowing what such a thing ought to look like. But then I always have the hope that, if I persevere, it might one day happen. And this hope is nurtured every time something appears, a scattered, partial, initial hint of something which reminds me of what I long for, or which conveys a hint of it – although often enough I have been fooled by a momentary glimpse that then vanishes, leaving behind only the usual thing.

Gerhard Richter

leaving knowing long

Illusion - or rather appearance, semblance - is the theme of my life (could be theme of speech welcoming freshmen to the Academy). All that is, seems, and is visible to us because we perceive it by the reflected light of semblance. Nothing else is visible.

Gerhard Richter

speech light art

If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying - for however long it takes - until I think it has improved. And I don't demand an explanation from myself as to why this is so.

Gerhard Richter

mean art thinking

I find the Romantic period extraordinarily interesting. My landscapes have connections with Romanticism: at times I feel a real desire for, an attraction to, this period, and some of my pictures are a homage to Caspar David Friedrich.

Gerhard Richter

real art interesting

Theory has nothing to do with a work of art. Pictures which are interpretable, and which contain a meaning, are bad pictures. A picture presents itself as the Unmanageable, the Illogical, the Meaningless. It demonstrates the endless multiplicity of aspects; it takes away our certainty, because it deprives a thing of its meaning and its name. It shows us the thing in all the manifold significance and infinite variety that preclude the emergence of any single meaning and view.

Gerhard Richter

views names art