Gerhard Richter Quotes About Painting

Quotes about: Painting

• To talk about paintings is not only difficult but perhaps pointless too. You can only express in words what words are capable of expressing-- what language can communicate. Painting has nothing to do with that.

  Gerhard Richter

  Painting, Language, Difficult

  "Gerhard Richter - Painting". Documentary, 2011.

• Of course I constantly despair at my own incapacity, at the impossibility of ever accomplishing anything, of painting a valid, true picture or even knowing what such a thing ought to look like. But then I always have the hope that, if I persevere, it might one day happen. And this hope is nurtured every time something appears, a scattered, partial, initial hint of something which reminds me of what I long for, or which conveys a hint of it – although often enough I have been fooled by a momentary glimpse that then vanishes, leaving behind only the usual thing.

  Gerhard Richter

  Knowing, Long, Leaving

  Gerhard Richter, Dietmar Elger, Hans-Ulrich Obrist (2009). “Gerhard Richter: writings 1961-2007”, Distributed Art Pub Inc

• I find the Romantic period extraordinarily interesting. My landscapes have connections with Romanticism: at times I feel a real desire for, an attraction to, this period, and some of my pictures are a homage to Caspar David Friedrich.

  Gerhard Richter

  Art, Real, Interesting

  FaceBook post by Gerhard Richter from Sep 03, 2014

• I like everything that has no style: dictionaries, photographs, nature, myself and my paintings. (Because style is violent, and I am not violent.)

  Gerhard Richter

  Art, Style, Technique

  FaceBook post by Gerhard Richter from Jul 04, 2014

• My paintings are wiser than I am.

  Gerhard Richter

  Painting, Wiser

• I don't believe in the reality of painting, so I use different styles like clothes: it's a way to disguise myself.

  Gerhard Richter

  Believe, Reality, Clothes

  FaceBook post by Gerhard Richter from Mar 06, 2012

• Photography has almost no reality; it is almost a hundred per cent picture. And painting always has reality: you can touch the paint; it has presence; but it always yields a picture - no matter whether good or bad. That's all the theory. It's no good. I once took some small photographs and then smeared them with paint. That partly resolved the problem, and it's really good - better than anything I could ever say on the subject.

  Gerhard Richter

  Photography, Reality, Yield

• 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

  Country, Art, Mean

  Gerhard Richter, Dietmar Elger, Hans-Ulrich Obrist (2009). “Gerhard Richter: text : writings, interviews and letters, 1961-2007”

• I believe that you always have to believe. It's the only way; after all we both believe that we will do this exhibition. But I can't believe in God, as such, he's either too big or too small for me, and always incomprehensible, unbelievable.

  Gerhard Richter

  Art, Believe, Exhibitions

  Interview with Nicholas Serota, www.timeout.com. October 10, 2011.

• 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

  Art, Mean, Hands

• Grey. It makes no statement whatever; it evokes neither feelings nor associations: it is really neither visible nor invisible. Its inconspicuousness gives it the capacity to mediate, to make visible, in a positively illusionistic way, like a photograph. It has the capacity that no other colour has, to make 'nothing' visible.

  Gerhard Richter

  Art, Giving, Feelings

  Robert Storr, Gerhard Richter (2000). “Gerhard Richter: October 18, 1977”, ABRAMS

• Above all, it's never blind chance: it's a chance that is always planned, but also always surprising. And I need it in order to carry on, in order to eradicate my mistakes, to destroy what I've worked out wrong, to introduce something different and disruptive. I'm often astonished to find how much better chance is than I am.

  Gerhard Richter

  Art, Mistake, Order

• There is sorrow, but I hope one can see that it is sorrow for the people who died so young and so crazy, for nothing. I have respect for them, but also for their wishes, or for the power of their wishes. Because they tried to change the stupid things in the world.

  Gerhard Richter

  Art, Crazy, Stupid

  Gerhard Richter, Dietmar Elger, Hans-Ulrich Obrist (2009). “Gerhard Richter: writings 1961-2007”, Distributed Art Pub Inc

• I started doing 'figures', then, one day, all of a sudden, I started doing abstraction. And then I started doing both. But it was never really a conscious decision. It was simply a question of desire. In fact, I really prefer making figurative work, but the figure is difficult. So to work around the difficulty I take a break and paint abstractly. Which I really like, by the way, because it allows me to make beautiful paintings.

  Gerhard Richter

  Beautiful, Art, Decision

• Only about one per cent of my paintings show family members. Do they help me deal with problems? It's likely that these problems can only be depicted. But photographs, private ones and others, keep appearing that fascinate me so much that I want to paint them. And sometimes the real meaning these images have for me only becomes apparent later.

  Gerhard Richter

  Art, Real, Want

• Well, the beginning is actually quite easy, because I can still be quite free about the way I handle things - colours, shapes. And so a picture emerges that may look quite good for a while, so airy and colourful and new. But that will only last for a day at most, at which point it starts to look cheap and fake. And then the real work begins - changing, eradicating, starting again, and so on, until it's done.

  Gerhard Richter

  Art, Real, Fake

• It can be a work by Mondrian, a piece of music by Schönberg or Mozart, a painting by Leonardo, Barnett Newman or also Jackson Pollock. That's beautiful to me. But also nature. A person can be beautiful as well. And beauty is also defined as 'untouched'. Indeed, that's an ideal: that we humans are untouched and therefore beautiful.

  Gerhard Richter

  Beautiful, Art, Pieces

• I think everybody starts out by seeing a few works of art and wanting to do something like them. You want to understand what you see, what is there, and you try to make a picture out of it. Later you realize that you can't represent reality at all - that what you make represents nothing but itself, and therefore is itself reality.

  Gerhard Richter

  Art, Reality, Thinking

  Gerhard Richter, Dietmar Elger, Hans-Ulrich Obrist (2009). “Gerhard Richter: writings 1961-2007”, Distributed Art Pub Inc

• Perhaps the choice is a negative one, in that I was trying to avoid everything that touched on well-known issues - or any issues at all, whether painterly, social or aesthetic. I tried to find nothing too explicit, hence all the banal subjects; and then, again, I tried to avoid letting the banal turn into my issue and my trademark. So it's all evasive action, in a way.

  Gerhard Richter

  Art, Issues, Choices

  Gerhard Richter, Dietmar Elger, Hans-Ulrich Obrist (2009). “Gerhard Richter: writings 1961-2007”, Distributed Art Pub Inc

• 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

  Art, Real, Mean

  Gerhard Richter, Dietmar Elger, Hans-Ulrich Obrist (2009). “Gerhard Richter: text : writings, interviews and letters, 1961-2007”

• But it is also untrue that I have nothing specific in mind. As with my landscapes: I see countless landscapes, photograph barely 1 in 100,000, and paint barely 1 in 100 of those that I photograph. I am therefore seeking something quite specific; from this I conclude that I know what I want.

  Gerhard Richter

  Art, Mind, Landscape

  FaceBook post by Gerhard Richter from Mar 19, 2015

• Not the victims of any specific ideology of the left or of the right, but of the ideological posture as such. This has to do with the everlasting human dilemma in general: to work for a revolution and fail.

  Gerhard Richter

  Art, Revolution, Painting

  Gerhard Richter, Dietmar Elger, Hans-Ulrich Obrist (2009). “Gerhard Richter: text : writings, interviews and letters, 1961-2007”

• 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

  Art, Hate, Communication

• 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

  Art, Illustration, Ideas

  Gerhard Richter, Dietmar Elger, Hans-Ulrich Obrist (2009). “Gerhard Richter: writings 1961-2007”, Distributed Art Pub Inc

• Well, I don't believe there are subjects that can't be painted, but there are a lot of things that I personally can't paint.

  Gerhard Richter

  Art, Believe, Painting

  Interview with Nicholas Serota, www.timeout.com. October 10, 2011.

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