Gerhard Richter: Quotes about painting

Gerhard Richter is German visual artist, born 1932. Explore interesting quotes on painting.

Gerhard Richter: 192 quotes1 like

“I am primarily painting from photographs these days (from illustrated magazines but also from family photos), in a sense this is a stylistic problem, the form is naturalistic, even though the photograph is not nature at all but a prefabricated product (the “second-hand world” in which we live), I do not have to intervene artistically with style, since the stylization (deformation in form and color) contributes only under very particular circumstances toward clarifying and intensifying an object or a subject (generally stylization becomes the central problem which obscures everything else (object, subject), it leads to an unmotivated artificiality, an untouchable formalist taboo.”

Gerhard Richter

In Richter's letters from Düsseldorf, 19 July 1963 - to two artist friends, Helmut and Erika Heinze
1960's

“Strange though this may sound, not knowing where one is going – being lost, being a loser – reveals the greatest possible faith and optimism, as against collective security and collective significance. To believe, one must have lost God; to paint, one must have lost art.”

Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“To me, grey is the welcome and only possible equivalent for indifference, noncommitment, absence of opinion, absence of shape. But grey, like formlessness and the rest, can be real only as an idea, and so all I can do is create a colour nuance that means grey but is not it. The painting is then a mixture of grey as a fiction and grey as a visible, designated area of colour.”

Gerhard Richter

Quote of Richter on his 'Grey Paintings', in a letter to nl:Edy de Wilde, 23 February 1975; as cited on collected quotes on the website of Gerhard Richter: on 'Grey-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/grey-paintings-9 <br class="br">1970's <br class="br">Variant: It [grey color] makes no statement whatever... It has the capacity that no other color has, to make 'nothing' visible. To me grey is the welcome and only possible equivalent for indifference, non-commitment, absence of opinion, absence of shape (note 99).... but, grey like formlessness and the rest, can be real only as an idea.... The painting is then a mixture of grey as a fiction and grey as a visible, designated area of color.

“The abstracts are the opposite to work on. That process is more like walking, step by step, without an intention, until you discover where you are going. When I paint a landscape from a photograph or an image like this one, I can see the end point before I start, although in fact it always turns out slightly different than I imagined. What I have is not facility, because this really doesn't take skill. I have an eye. I couldn't make a drawing of you sitting here right now. I would love to have that ability, in the same way that I would love to play the piano. Virtuosity is a precondition for pianists, but in addition you have to be good. These are not the same thing.”

Gerhard Richter

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“All that interests me is the grey areas, the passages and the tonal sequences, the pictorial spaces, overlaps and interlockings. If I had any way of abandoning the object as the bearer of this structure, I would immediately start painting abstracts.”

Gerhard Richter

Source: after 2000, Doubt and belief in painting' (2003), p. 93, note 24

“Their permanent presence [of the old traditional paintings out of the past] compels us to produce something different, which is neither better nor worse, but which has to be different because we painted the Isenheim Alter [of Grünewald, 14th century] yesterday.... the better we know tradition – i. e., ourselves and the more responsibly we deal with it, the better things we will make similar, and the better things we will make different.”

Gerhard Richter

Source: after 2000, Doubt and belief in painting' (2003), p. 107, note 60

“I was like a gravedigger while I painted these corpses [of the dead Baader-Meinhoff members]. It was just work. If I felt one of them looked too theatrical, I painted over it… I was afraid more of the reaction on the left than the right. It was still very dangerous to deal with this subject in Germany. There was fear that the museum where I showed them might be bombed. All my friends were on the left, but I was not. They said: 'Someone with the right mentality could do this, but not Richter - he is too bourgeois. He steals Baader-Meinhof away from us.' To me, they were part of the problem. I was standing outside watching how people, on both sides [left / right], ignored the truth because of their beliefs, beliefs that made them crazy. That was the point of the pictures.”

Gerhard Richter

In 1988, Richter painted a series of 15 works titled 'October 18, 1977.' It shocked Germany, especially left. The series was based on photographs of the anti-capitalist Baader-Meinhof group, which called itself the Rote Armee Fraktion (Red Army Fraction) and were in prison and died in 1977.
after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“The first impulse towards painting, or toward art in general, stems from the need to communicate, the effort to fix one's own vision, to deal with appearances (which are alien and must be given names and meanings.) Without this, all work would be pointless and unjustified, like Art for Art's Sake.”

Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“A painting by Caspar David Friedrich is not a thing of the past. What is past is only the set of circumstances that allowed it to be painted.... it is therefore quite possible to paint like Caspar David Friedrich today.”

Gerhard Richter

Source: after 2000, Doubt and belief in painting' (2003), p. 106, note 58

“When I paint an abstract picture (the problem is very much the same in other cases), I neither know in advance what it is meant to look like nor, during the painting process, what I am aiming at and what to do about getting there. Painting is consequently an almost blind, desperate effort, like that of a person abandoned, helpless, in totally incomprehensible surroundings – like that of a person who possesses a given set of tools, materials and abilities and has the urgent desire to build something useful which is not allowed to be a house or a chair or anything else that has a name; who therefore hacks away in the vague hope that by working in a proper, professional way he will ultimately turn out something proper and meaningful.”

Gerhard Richter

Notes, 1985; as cited on collected quotes on the website of Gerhard Richter: on 'Abstract paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/abstract-paintings-7 <br class="br">1980's

“This time the entire floor is covered with cut-up illustrated journals, a new tic and trick of mine (eight days now): I cut out photos from illustrated journals and dissolve them with a chemical solution and swipe and smear them. That is fabulous fun. I have always loved illustrated magazines, perhaps because of their documentary actuality. I have also already made a few attempts to paint something like that in a larger format. Curious to see how it will continue. I am pursuing something which in a certain way resembles the most recent movement: Pop art (from popular), probably came up in America and is now heating up the minds here.”

Gerhard Richter

In Richter's letters from Düsseldorf, 10 March 1963 - to two artist friends, Helmut and Erika Heinze
1960's

“The 'Grey Pictures' were done at a time when there were monochrome paintings everywhere. I painted them nonetheless... Not Kelly, but Bob Ryman, Brice Marden, Alan Charlton, Yves Klein and many others.”

Gerhard Richter

In an interview with Benjamin H.D. Buchloch, 1986
Richter was asked about his 'Monochrome Grey Pictures and Abstract Pictures' and their connection with the artists Yves Klein and Ellsworth Kelly.
1980's

“I suppose they also had to do with my father, the Nazis, being skeptical of all systems, all manias. In the 70's, political positions were so clearly split in Germany - the country was so divided over the Baader-Meinhof group - and I was annoyed by both sides. In terms of what I expressed in the paintings, that seemed my only choice, not because I wanted to be ambiguous but because I myself don't know how to answer these difficult questions. That was what I was conveying.”

Gerhard Richter

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“The photograph reproduces objects in a different way from the painted picture, because the camera does not apprehend objects: it sees them. In 'free-hand drawing' the object is apprehended in all it parts... By tracing the outlines with the aid of a projector you can bypass and elaborate this process of apprehension. You no longer apprehend but see and make (without design) what you have not apprehended. And when you don't know what you are making, you don't know, either, what to alter or distort.”

Gerhard Richter

Source: after 2000, Doubt and belief in painting' (2003), p. 51, note 60

“By nature I am a skeptic. I don't dare to think my paintings are great. I can't understand the arrogance of someone saying, 'I have created a big, important work.' I want to reject this pathetic behavior, this notion of the heroic artist. Pollock, Barnett Newman, Franz Kline, their heroism derived from the climate of their time, but we do not have this climate… On the other hand, you do need feelings like they had to some extent. So I am afraid there must be a side of me close to those feelings. Those absurd feelings.”

Gerhard Richter

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“He [Richter's art-mate, the German painter Sigmar Polke ] was very different, he was not cool... He had irony. He was very funny. The things we did together [around 1963 – 1970] were a kind of craziness... We thought everything was so stupid and we refused to participate. That was the basis of our understanding.... he was able to paint those little dots in his raster paintings by hand with such a patience while he was living with his two children and his wife in a small subsidized apartment.”

Gerhard Richter

Source: after 2000, Doubt and belief in painting' (2003), pp. 45-46, note 43

“As far as the surface is concerned – oil on canvas, conventionally applied – my pictures have little to do with the original photograph. They are totally painting (whatever that may mean). On the other hand, they are so like the photograph that the thing that distinguished the photograph from all other pictures remains intact.”

Gerhard Richter

Notes, 1964-65; as cited on collected quotes on the website of Gerhard Richter: on 'Photo-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/photo-paintings-12 <br class="br">1960's

“Lueg and Palermo saw what was good, what was bad, in what I was painting. That became the basis of our relationship, that we shared an idea, a sensibility. With Sigmar Polke, it was different. Our relationship was based on being outrageous. I have difficulties with his work. He [Polke] refuses all values and criteria, and for that reason I could never talk to him seriously. He refuses to accept any borders, any limits.”

Gerhard Richter

after 2000, Gerhard Richter: An Artist Beyond Isms' (2002)

“Painting has nothing to do with thinking, because in painting thinking is painting. Thinking is language – record-keeping – and has to take place before and after. Einstein did not think when he was calculating: he calculated – producing the next equation in reaction to the one that went before – just as in painting one form is a response to another and so on.”

Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“To defend painting: One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is pure idiocy.”

Gerhard Richter

Source: undated quotes, The Daily Practice of Painting, Writings (1962-1993), p. 78