“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

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Gerhard Richter96

German visual artist, born 1932 1932

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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

“Idiots can do what I do. When I first started to do this [projecting photos on the canvas and painting them after having them traced in details with a piece of charcoal] in the 60's, people laughed. I clearly showed that I painted from photographs. It seemed so juvenile. The provocation was purely formal - that I was making paintings like photographs. Nobody asked about what was in the pictures. Nobody asked who my Aunt Marianne was. That didn't seem to be the point.”

Gerhard Richter (1932) German visual artist, born 1932

Richter's aunt had been murdered by the Nazis in the name of euthanasia, a crime for which his father-in-law from his first marriage, a Nazi doctor named Heinrich Eufinger, had been partially responsible. Richter painted a portrait of his aunt in 1965, based on an old photo. It was called 'Tante Marianne' / 9Aunt Marianne).
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“I didn’t photograph people as an example of New York urban something or other. I don’t have a philosophy. I have a camera. I look into the camera and take pictures. My photographs are the tiniest part of what I see that could be photographed. They are fragments of endless possibilities.”

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“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

“But there is one very odd thing - to notice that basically a picture doesn't change, that the first 'vision' remains almost intact, in spite of appearances. I often ponder on a light and a dark when I have put them into a painting; I try hard to break them up by interpolating a color that will create a different effect. When the work is photographed, I note that what I put in to correct my first vision has disappeared, and that, after all, the photographic image corresponds with my first vision before the transformation I insisted on.”

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Pablo Picasso (1881–1973) Spanish painter, sculptor, printmaker, ceramicist, and stage designer

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Richard Friedenthal, (1963, p. 256).
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