Throwaway snapshots come closest to achieving the state of pure picture. Gerhard Richter More Quotes by Gerhard Richter More Quotes From Gerhard Richter I don't create blurs. Blurring is not the most important thing; nor is it an identity tag for my pictures. Gerhard Richter important identity art I remember that I felt I had to avoid all these sensational photos, the hanged woman, the man who shot himself, and so forth. I collected a great deal of material, including a number of banal, irrelevant photos, and then in the course of my work I came back to the very pictures I had actually wanted to avoid, which summed up the various stories. Gerhard Richter numbers men art The painter sees the semblance of things and repeats it. That is, without fabricating the things himself, he fabricates their semblance; and, if that no longer recalls any object, this artificially produced semblance functions only because it is scrutinized for likeness to a familiar - that is, object-related - semblance. Gerhard Richter painter function painting My method is related to an attempt to do something that might be understood by today's world, or that could at least provide understanding. In other words, doing something I understand and that everyone understands. This natural desire for communication is also found in other domains, like reading and discourse, etc. I also hate repeating myself; it gives me no pleasure whatsoever. Once I've understood something, I need to start off on new ground. Gerhard Richter communication hate art The urge to break with a tradition is only appropriate when you're dealing with an outdated, troublesome tradition: I never really thought about that because I take the old-fashioned approach of equating tradition with value (which may be a failing). But whatever the case, positive tradition can also provoke opposition if it's too powerful, too overwhelming, too demanding. That would basically be about the human side of wanting to hold your own. Gerhard Richter powerful may art Experience has proved that there is no difference between a so-called realist painting - of a landscape, for example - and an abstract painting. They both have more or less the same effect on the observer. Gerhard Richter abstract-painting differences example I don't know what motivated the artist, which means that the paintings have an intrinsic quality. I think Goethe called it the 'essential dimension,' the thing that makes great works of art great. Gerhard Richter greatness mean art They are specific places I have discovered here and there when I am on the road to take photos. I go especially to take photos. Gerhard Richter painting here-and-there art I originally came from Dresden, where Socialist Realism prevailed. Konrad Lueg and I came up with it, for the most part ironically, since I now live in capitalism. It was certainly 'realism', but in another form - the capitalist form, as it were. It wasn't meant that seriously. It was more a slogan for that particular Happening at a furniture store. Gerhard Richter furniture form art The year is always correct, also the month, only the day can be another. But that occurs to me only in the moment of writing it down. Gerhard Richter writing years art The desire to please is maligned, unfairly. There are many sides to it. First of all, pictures have to arouse interest before people will even look at them, and then they have to show something that holds that interst - and naturally they have to be presentable, just as a song has to be sung well, otherwise people run away. One mustn't underrate this quality, and I have always been delighted when my pieces have also appealed to the museum guards, the laymen. Gerhard Richter running song art What counts isn't being able to do a thing, it's seeing what it is. Seeing is the decisive act, and ultimately it places the maker and the viewer on the same level. Gerhard Richter levels able makers Politicians are nauseating by definition... They can produce nothing, neither a loaf of bread nor a table nor a picture; and this inability to create value, this total inferiority, makes them jealous, vengeful, insolent and a menace to life and limb. Gerhard Richter inferiority inability jealous When we describe a process, or make out an invoice, or photograph a tree, we create models; without them we would know nothing of reality and would be animals. Gerhard Richter tree animal reality I first came up with the idea for the colour-chart pictures back in 1966, and my preoccupation with the topic culminated in 1974 with a painting that consisted of 4,096 colour fields. Initially I was attracted by the typical Pop Art aestheticism of using standard colour-sample cards; I preferred the unartistic, tasteful and secular illustration of the different tones to the paintings of Albers, Bill, Calderara, Lohse, etc. Gerhard Richter illustration ideas art In the beginning I tried to accommodate everything there that was somewhere between art and garbage and that somehow seemed important to me and a pity to throw away. After a while, some sheets in the Atlas acquired another value, after all - that is, it seemed to me that they could stand on their own terms, not only under the protection of the Atlas. Gerhard Richter atlas important art As I see it, all of them - Tachists, Action Painters, Informel artists, and the rest - are only part of an Informel movement that covers a lot of other things as well. I think there's an Informel element in Beuys, as well; but it all began with Duchamp and chance, or with Mondrian, or with the Impressionists. The Informel is the opposite of the constructional quality of classicism - the age of kings, or clearly formed hierarchies. Gerhard Richter kings art thinking Painting is traditional but for me that doesn't mean the academy. I felt a need to paint; I love painting. It was something natural - as is listening to music or playing an instrument for some people. For this reason I searched for themes of my era and my generation. Photography offered this, so I chose it as a medium for painting. Gerhard Richter photography mean people The truth... When they have a similar structure to and are organized in as truthful a way as nature. When I look out of the window, then truth for me is the way nature shows itself in its various tones, colours and proportions. That's a truth and has its own correctness. This little slice of nature, and in fact any given piece of nature, represents to me an ongoing challenge, and is a model for my paintings. Gerhard Richter ongoing challenges art The first colour charts were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions. Gerhard Richter arbitrary numbers art
