“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

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Gerhard Richter 96

German visual artist, born 1932 1932

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“Clement Greenberg talked about the ideas or possibilities of painting in his - I think -, 'After Abstract Expressionism' article, and he allows a blank canvas to be an idea for a painting. It might not be a good idea, but it's certainly valid. Yves Klein did the empty gallery. He sold 'air', and that was a conceptualized art, I guess.”

Frank Stella (1936) American artist

Source: Quotes, 1960 - 1970, Questions to Stella and Judd' - September 1966, p. 122

“When I first painted a number of canvases grey all over (about eight years ago), I did so because I did not know what to paint, or what there might be to paint: so wretched a start could lead to nothing meaningful. As time went on, however, I observed differences of quality among the grey surfaces – and also that these betrayed nothing of the destructive motivation that lay behind them. The pictures began to teach me. By generalizing a personal dilemma, they resolved it.”

Gerhard Richter (1932) German visual artist, born 1932

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
1970's

“It was in 1947 that the idea of a conscious monochrome vision came to me... Pure, existential space was regularly winking at me, each time in a more impressive manner, and this sensation of total freedom attracted me so powerfully that I painted some monochrome surfaces just to 'see', to 'see' with my own eyes what existential sensibility granted me; absolute freedom! But each time I could neither imagine or think of the possibility of considering this as a painting, a picture, until the day when I said: Why not?”

Yves Klein (1928–1962) French artist

Source: before 1960, "Yves Klein, 1928 – 1962, Selected Writings", p. 15

“My first photo Picture? I was doing large pictures in gloss enamel... One day a photograph of Brigit Bardot fell into my hands, and I painted it into one of these pictures in shades of grey. I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic.... thing that everyone could do.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 43, note 36 : quote on his start with photography

“When the paintings suddenly started going for, like, really big money it definitely weirded me out, and I kind of went away to the middle of nowhere and I stopped making any more paintings. But the whole time the auction houses were just selling paintings that I’d done years before and sold for not much money. Or paintings that I traded for a haircut or, you know, an ounce of weed and they were going for like 50 grand.”

Banksy pseudonymous England-based graffiti artist, political activist, and painter

lightly edited
Other sources

“I paint very large pictures. I realize that historically the function of painting large pictures is painting something very grandiose and pompous. The reason I paint them however, - I think it applies to other painters I know -, is precisely because I want to be very intimate and human. To paint a small picture is to place yourself outside your experience, to look upon an experience as a stereopticon view or with a reducing glass. However you paint the larger picture, you are in it. It isn't something you command.”

Mark Rothko (1903–1970) American painter

1950's
Source: Interiors, Vol. 110, no 10, May 1951; as quoted in Abstract Expressionism Creators and Critics, ed. Clifford Ross, Abrams Publishers New York 1990, p. 172

“It was no accident that I found my way to Götz at the time [c. 1960-62]. This 'Informal' element runs through every picture I've painted, whether it's a landscape, or a family painted from a photograph, or the Colour Charts or a Grey picture. And so now it is a pursuit of the same objectives by other means... As I now see it, all my paintings are 'Informal'.... except for the landscapes, perhaps... The 'Informal' is the opposite of the constructional quality of classicism – the age of kings, of clearly formed hierarchies.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 42, note 45 : quote on his period of Informal art

“The immaterial pictorial sensitivity zones of Yves KLEIN, the Monochrome, are relinquished against a certain weight of fine gold. Seven series of these pictural immaterial zones all numbered exist already; for each zone relinquished a receipt is given. This receipt indicates the exact weight of pure gold which is the material value correspond to the immaterial acquired. The zones are transferable by their owner. (See rules on each receipt.)”

Yves Klein (1928–1962) French artist

Source: before 1960, Ritual for the Relinquishment of the immaterial Pictorial Sensitivity Zones', Yves Klein, 1957-59, p. 207

“I can't change the fact that my paintings don't sell. But the time will come when people will recognize that they are worth more than the value of the paints used in the picture.”

Vincent Van Gogh (1853–1890) Dutch post-Impressionist painter (1853-1890)

“I would rather paint the victims than the killers... When Warhol painted the killers, I painted the victims. The subjects were of poor people, banal poor dogs.”

Gerhard Richter (1932) German visual artist, born 1932

comment on his painting 'Eight student nurses', compared with Warhol's art-work 'Thirteen most wanted man', in 1964
Source: after 2000, Doubt and belief in painting' (2003), p. 56, note 79

“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.”

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Gerhard Richter 96

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