Sign in with your pod

Famous quotes

Quotes by famous people, credited to who said them. Your own quotes must not match any of these. More are added all the time. 1,158,269 quotes Who coined it · How we decide

EnglishItalianoPolskiעבריתFrançaisPortuguêsفارسیEspañol中文РусскийDeutschالعربيةहिन्दी日本語ΕλληνικάLatina

Gerhard Richter

98 quotes

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

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) first seen 1964 wikiquote, CC BY-SA 4.0 source

  Recorded in: comment on his painting 'Eight student nurses', compared with Warhol's art-work 'Thirteen most wanted man', in 1964

• “I pursue no objectives, no systems, no tendency; I have no program, no style, no direction. I have no time for specialized concerns, working themes, or variations that lead to mastery. I steer clear of definitions. I don't know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “Do you know what was great? Finding out that a stupid, ridiculous thing like copying a postcard could lead to a picture. And then the freedom to paint whatever you felt like. Stags, aircraft, kings, secretaries. Not having to invent anything anymore, forgetting everything you meant by painting – color, composition, space – and all of the things you previously knew and thought. Suddenly none of this was a prior necessity for art.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “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.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “Perhaps the Doors, Curtains, Surface Pictures, Panes of Glass [like in his work '4 Panes of Glass', 1967], etc. are metaphors of despair, prompted by the dilemma that our sense of sight causes us to apprehend things, but at the same time restricts and partly precludes our apprehension of reality.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “I don't mistrust reality, of which I know next to nothing. I mistrust the picture of reality conveyed to us by our senses, which is imperfect and circumscribed. Our eyes have evolved for survival purposes. The fact that they can also see the stars is pure accident.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) wikiquote, CC BY-SA 4.0 source

• “It was the ultimate possible statement of powerlessness and desperation [Richter is referring to w:John Cage's famous 'Lecture on Nothing']. Nothing, absolutely nothing left, no figures, no color, nothing. Then you realize after you've painted three of them that one's better than the others and you ask yourself why is that. When I see eight pictures together I no longer feel that they're sad, or if so, they're sad in a pleasant way.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “His Blinky Palermo constructive pictures have remained in my memory because they particularly appeal to me, because I can't produce such a thing. I always found it very good how he made it and that he made it – this astonished me. There was an aesthetic quality which I loved and which I couldn't produce, but I was happy that such a thing existed in the world. In comparison, my own things seemed to me somewhat destructive, without this beautiful clarity.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) wikiquote, CC BY-SA 4.0 source

• “I only identified with (Rothko's seriousness, which was absolutely to be admired. At that time, in the 1970's Barnett Newman, with his non-hierarchical structures, his non-relational Color Field painting, seemed more interesting because his work was less pretty.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “Simply because I liked it so much I saw it in Venice and thought: I'd like to have that for myself. To start with I only meant to make a copy, so that I could have a beautiful painting at home and with it a piece of that period, all that potential beauty and sublimity.. .Then my copy went wrong, and the pictures that finally emerged went to show that it just can't be done any more, not even by way of a copy. All I could do was to break the whole thing down and show that it's no longer possible [Richter's quote refers to his 'Annunciation after Titian', he made in 1973].”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) wikiquote, CC BY-SA 4.0 source

• “I believe that art has a kind of Rightness, as in music, when we hear whether or not a note is false. And that's why classical paintings, which are right in their own terms, are so necessary for me. In addition to that there's nature, which also has this rightness.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “I even went all the way to Greenland, because C. D. Friedrich painted that beautiful picture of The Wreck of the 'Hope'. I took hundreds of photos up there and barely one picture [Richter's quote refers to his artwork 'Iceberg in Fog', 1982] came out of it.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “Of course, my landscapes are not only beautiful or nostalgic, with a Romantic or classical suggestion of lost Paradises, but above all 'untruthful'.. .By 'untruthful' I mean the glorifying way we look at Nature – Nature, which in all its forms is always against us, because it knows no meaning, no pity, no sympathy, because it knows nothing and is absolutely mindless: the total antithesis of ourselves.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “What I lack is the spiritual basis which under girded Romantic painting. We have lost the feeling of God's omnipresence in Nature. For us, everything is empty. Yet, these paintings [of a.o. Caspar David Friedrich ] are still there. They still speak to us. We continue to love them, to use them, to have need of them.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) wikiquote, CC BY-SA 4.0 source

• “The idea that art copies nature is a fatal misconception. Art has always operated against nature and for reason.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “Every word, every line, every thought is prompted by the age we live in, with all its circumstances, its ties, its efforts, its past and present. It is impossible to act or think independently and arbitrarily. This is comforting in a way. To the individual, the collective experience of the age represents a bond – and also, in a sense, security; there will always be possibilities even in disaster.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “It makes no sense to expect or claim to 'make the invisible visible', or the unknown known, or the unthinkable thinkable. We can draw conclusions about the invisible; we can postulate its existence with relative certainty. But all we can represent is an analogy, which stands for the invisible but is not it.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “There is no excuse whatever for uncritically accepting what one takes over from others. For no thing is good or bad in itself, only as it relates to specific circumstances and to our own intentions. This fact means that there is nothing guaranteed or absolute about conventions; it gives us the daily responsibility of distinguishing good from bad.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God. We are well aware that making sense and picturing are artificial, like illusion; but we can never give them up. For belief (thinking out and interpreting the present and the future) is our most important characteristic.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “Art's means of representing a thing – style, technique and the object represented – are circumstances of art, just as the artist's individual qualities (way of life, abilities, environment and so on) are circumstances of art. Art can just as well be made in harmony with the circumstances of its making as in defiance of them. In itself art is neither visible nor definable: all that is visible and imitable is its circumstances, which are easily mistaken for the art itself.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “As soon as artistic activity turns into an 'ism', it ceases to be artistic activity. To be alive is to engage in a daily struggle for form and for survival. (By way of analogy: social concern is a form and a method that is currently seen as appropriate and right. But where it elevates itself into Socialism, an order and a dogma, then it loses its best and truest qualities and may turn criminal.)”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) wikiquote, CC BY-SA 4.0 source

• “Art serves to establish community. It links us with others and with the things around us, in a shared vision and effort.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “My concern is never art, but always what art can be used for.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) first seen 1963 wikiquote, CC BY-SA 4.0 source

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

• “Pop art is neither an American invention nor an import, yet the terms and names were coined in the US, where they were popularised much faster than in Germany. This kind of art has evolved organically and independently over here, yet at the same time it becomes an analogy to American pop art due to certain psychological, cultural and economical preconditions that are the same in Germany as they are in the US.. ..For the first time we are showing paintings in Germany that relate to those terms, representing pop art, junk culture, imperial or capitalistic realism, new figuration, naturalism, German pop and other comparable terms.”

  Gerhard Richter (born 1932) first seen 1963 wikiquote, CC BY-SA 4.0 source

  Recorded in: Quote from Richter's letter to 'Neue Deutsche Wochenschau', 29 April 1963; as cited on collected quotes on the website of Gerhard Richter: 'on Art'

• “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 (born 1932) first seen 1963 wikiquote, CC BY-SA 4.0 source

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

• “The first 'Colour charts' were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvases that followed, the colours were chosen arbitrarily and drawn by chance. Then, 180 tones were mixed according to a given system and drawn by chance to make four variations of 180 tones. But after that the number 180 seemed too arbitrary to me, so I developed a system based on a number of rigorously defined tones and proportions.. .Based on mixtures of the three primary colours, along with black and white, I come up with a certain number of possible colours and, by multiplying these by two or four, I obtain a definite number of colour fields that I multiply yet again by two, etc. But the complete realization of this project demands a great deal of time and work.”

  Gerhard Richter (born 1932) first seen 1973 wikiquote, CC BY-SA 4.0 source

  Recorded in: Quote on Richter's 'Colour Charts', in an interview with Irmeline Lebeer, 1973; as cited on collected quotes on the website of Gerhard Richter: on 'Colour-charts'

• “'1,024 Colours in 4 Permutations' In order to represent all extant colour shades in one painting, I worked out a system which – starting from the three primaries, plus grey – made possible a continual subdivision (differentiation) through equal gradations. 4 x 4 = 16 x 4 = 64 x 4 = 256 x 4 = 1,024. The multiplier 4 was necessary because I wanted to keep the image size, the square size and the number of squares in a constant proportion to each other. To use more than 1,024 tones (4,096, for instance) seemed pointless, since the difference between one shade and the next would no longer have been detectable. The arrangement of the colours on the squares was done by a random process, to obtain a diffuse, undifferentiated overall effect, combined with stimulating detail. The rigid grid precludes the generation of figurations, although with an effort these can be detected. This aspect of artificial naturalism fascinates me – as does the fact that, if I had painted all the possible permutations, light would have taken more than 400 billion years to travel from the first painting to the last. I wanted to paint four large, colourful pictures.”

  Gerhard Richter (born 1932) first seen 1974 wikiquote, CC BY-SA 4.0 source

  Recorded in: Richter's quote from the catalog of a group exhibition in 'Palais des Beaux-Arts', Brussels, 1974

• “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 (born 1932) first seen 1985 wikiquote, CC BY-SA 4.0 source

  Recorded in: Notes, 1985; as cited on collected quotes on the website of Gerhard Richter: on 'Abstract paintings'

• “In the early 1960s, having just come over from the GDR, I naturally declined to summon up any sympathy for the aims and methods of the Red Army Faction [RAF]. I was impressed by the terrorists' energy, their uncompromising determination and their absolute bravery; but I could not find it in my heart to condemn the State for its harsh response. That is what States are like; and I had known other, more ruthless ones. The deaths of the terrorists, and the related events both before and after, stand for a horror that distressed me and has haunted me as unfinished business ever since, despite all my efforts to suppress it.”

  Gerhard Richter (born 1932) first seen 1988 wikiquote, CC BY-SA 4.0 source

  Recorded in: Notes for a press conference, November-December 1988 (held at Museum Haus Esters, Krefeld, Feb. 1989)

• “The ones that weren't paintable were the ones I did paint. The dead. To start with, I wanted more to paint the whole business, the world as it then was, the living reality – I was thinking in terms of something big and comprehensive. But then it all evolved quite differently, in the direction of death. And that's really not all that unpaintable. Far from it, in fact. Death and suffering have always been an artistic theme. Basically, it's the theme. We've eventually managed to wean ourselves away from it, with our nice, tidy lifestyle.. .They [ Red Army Faction-members were 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 (born 1932) first seen 1977 wikiquote, CC BY-SA 4.0 source

  Recorded in: Quote from a conversation with Jan Thorn-Prikker concerning the '18 October 1977 cycle' [R.A.F.], 1989; as cited on the website of Gerhard Richter: on 'Baader-meinhof'

• “Chance as a theme and as method. A method of allowing something objective to come into being; a theme for creating a simile (picture) of our survival strategy: (1) The living method, which not only processes conditions, qualities and events as they chance to happen, but exists solely as that non-static 'process', and in no other way. (2) Ideological: denial of the planning, the opinion and the world-view whereby social projects, and subsequently 'big pictures', are created. So what I have often seen as a deficiency on my part – the fact that I've never been in a position to 'form a picture' of something – is not incapacity at all but an instinctive effort to get at a more modern truth: one that we are already living out in our lives (life is not what is said but the saying of it, not the picture but the picturing).”

  Gerhard Richter (born 1932) first seen 1989 wikiquote, CC BY-SA 4.0 source

  Recorded in: Quotes from Notes, 1989; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques'

• “I don't have a specific picture in my mind's eye. I want to end up with a picture that I haven't planned. This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture. Each picture has to evolve out of a painterly or visual logic: it has to emerge as if inevitably. And by not planning the outcome, I hope to achieve the same coherence and objectivity that a random slice of nature (or a ready-made) always possesses. Of course, this is also a method of bringing in unconscious processes, as far as possible. I just want to get something more interesting out of it than those things that I can think out for myself.”

  Gerhard Richter (born 1932) first seen 1990 wikiquote, CC BY-SA 4.0 source

  Recorded in: Quote from an interview with Sabine Schütz, 1990; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects'

• “I have always been structured. What has changed is the proportions. Now it is eight hours of paperwork and one of painting. I go to the studio every day, but I don't paint every day. I love playing with my architectural models. I love making plans. I could spend my life arranging things. Weeks go by, and I don't paint until finally I can't stand it any longer. I get fed up. I almost don't want to talk about it, because I don't want to become self-conscious about it, but perhaps I create these little crises as a kind of a secret strategy to push myself. It is a danger to wait around for an idea to occur to you. You have to find the idea.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “'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 (born 1932) wikiquote, CC BY-SA 4.0 source

• “This one is too elegant, too shiny, like jewelry. It seeks applause. This is clear to me, but difficult to explain, which is what makes abstraction so fascinating. In one sense, abstract art is absolutely nothing, stupid. In 100 years, maybe people will just think it's garbage. But somehow we see something in it; we have a sense of quality. [searching for an illustration of his point, Richter leafs through a catalog to find some of his 'gray monochromes']. I was doing these [monochromes] when I was getting divorced. When you feel totally empty, you do this - but then I saw that one picture was actually better than another. Both were miserable, but the difference was interesting. I loved this: that there must be something, some higher faculty, some progressive sensibility that we find in abstraction. But it is impossible to describe.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “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 (born 1932) first seen 1977 wikiquote, CC BY-SA 4.0 source

  Recorded in: 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…

• “Dada is a farce, a legend, a state of myth. A badly behaved myth whose subterranean survival and capricious manifestation upset everyone.. .The aesthetic of absolute negativity has been changed into methodical doubt, thanks to which it will finally be able to incarnate new signs.. .After the NO and the ZERO, there is a third position for the myth; the anti-art gesture of Marcel Duchamp has been charged with positive energy. The Dada spirit identifies itself with a method of appropriation of exterior reality of the modern world.. .The ready-made is no longer the height of negativity or of polemic, but the basis element of a new expressive repertoire. Such is the New Realism: a direct means for getting one's feet back on the ground but at 40 degree above Dada zero.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source

• “The sciences certainly have influenced the arts. To an Aztec, the sunset was an inexplicable event, which he could not cope with or even survive without the imagined aid of his gods. Obvious phenomena of this sort have since been explained. But the sheer unimagined vastness of the explicable has now made the inexplicable into such a monstrous thing that our heads spin, and the old images burst like bubbles. The thought of the totally inexplicable (as when we look at the starry sky), and the impossibility of reading any sense into this monstrous vastness, so affect us that we need ignorance to survive.”

  Gerhard Richter (born 1932) wikiquote, CC BY-SA 4.0 source