“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.”

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

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Gerhard Richter96

German visual artist, born 1932 1932

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“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 (1932) German visual artist, born 1932

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

“We [Richter and w:Blinky Palermo ] could really just speak about painting. The main thing was about the surface of color or the proportion of color. It was impossible for me to talk to Sigmar Polke about the opacity of color. With Palermo, yes. We supported each other, we comforted each other a little bit. We thought this really could not be true that everything was supposed to be over ['painting' as an expression of art, in the 1970's). Art had to be relevant [in the 1970's], and our art was not relevant.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), pp. 96-97

“Contact with like-minded painters, a group means a great deal to me: nothing comes in isolation. We have worked out our ideas largely by talking them through... One depends on one's surroundings. And so the exchange with other artists – and especially the collaboration with Lueg and Polke – matters a lot to me.”

Gerhard Richter (1932) German visual artist, born 1932

Source: after 2000, Doubt and belief in painting' (2003), p. 47

“Contact with like-minded painters – a group means a great deal to me: nothing comes in isolation. We have worked out our ideas largely by talking them through. Shutting myself away in the country, for instance, would do nothing for me. One depends on one's surroundings. And so the exchange with other artists – and especially the collaboration with Lueg and Polke – matters a lot to me: it is part of the input that I need.”

Gerhard Richter (1932) German visual artist, born 1932

Notes, 1964; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6 <br class="br">1960's

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“If I have called Cubism a new order, it is without any revolutionary ideas or any reactionary ideas... One cannot escape form one's own epoch, however revolutionary one may be. I do not think my painting has ever been revolutionary. It was not directed against any kind of painting. I have never wanted to prove that I was right and someone else wrong... If there is a touch of reaction, since life imposes that, it is minute. And then it is so difficult to judge a thing historically, separated from its environment: it is the relationship between a man and what he does that counts. That's what good and touches us.”

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