Gerhard Richter Quotes About Art

• Art is the highest form of hope.

  Gerhard Richter

  Art, Form, Art Is

  Gerhard Richter, Christine Mehring, Jeanne Anne Nugent, Jon L. Seydl (2010). “Gerhard Richter: Early Work, 1951-1972”, p.161, Getty Publications

• Now there are no priests or philosophers left, artists are the most important people in the world.

  Gerhard Richter

  Arte, Gente, Importante

  FaceBook post by Gerhard Richter from Aug 06, 2015

• Since there is no such thing as absolute rightness and truth, we always pursue the artificial, leading, human truth. We judge and make a truth that excludes other truths. Art plays a formative part in this manufacture of truth.

  Gerhard Richter

  Art, Play, Judging

  FaceBook post by Gerhard Richter from May 08, 2014

• 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

  Arte, Real, Interesante

  FaceBook post by Gerhard Richter from Sep 03, 2014

• Me gusta todo lo que no tiene estilo: los diccionarios, las fotografías, la naturaleza, yo mismo y mis cuadros. (Porque el estilo es violento, y yo no soy violento).

  Gerhard Richter

  Art, Style, Technique

  FaceBook post by Gerhard Richter from Jul 04, 2014

• 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.

  Gerhard Richter

  Religious, Art, Views

  Robert Storr, Gerhard Richter, Museum of Modern Art (New York, N.Y.) (2002). “Gerhard Richter: Forty Years of Painting”, p.86, The Museum of Modern Art

• Theory has nothing to do with a work of art. Pictures which are interpretable, and which contain a meaning, are bad pictures. A picture presents itself as the Unmanageable, the Illogical, the Meaningless. It demonstrates the endless multiplicity of aspects; it takes away our certainty, because it deprives a thing of its meaning and its name. It shows us the thing in all the manifold significance and infinite variety that preclude the emergence of any single meaning and view.

  Gerhard Richter

  Art, Views, Names

• El arte no es una religión sustitutiva: es una religión (en el verdadero sentido de la palabra: "volver a atar", "atar" a lo incognoscible, trascender la razón, ser trascendente). Pero la iglesia ya no es un medio adecuado para ofrecer la experiencia de lo trascendental y hacer que la religión sea real, por lo que el arte ha dejado de ser un medio para convertirse en el único proveedor de religión, es decir, la religión en sí misma.

  Gerhard Richter

  Arte, Real, Medio

• Almost every work of art is an analogy. When I make a representation of something, this too is an analogy to what exists; I make an effort to get a grip on the thing by depicting it. I prefer to steer clear of anything aesthetic, so as not to set obstacles in my own way and not to have the problem of people saying: 'Ah, yes, that's how he sees the world, that's his interpretation.'

  Gerhard Richter

  Art, People, Effort

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

• Quizá ni siquiera teníamos una oportunidad. El mensaje del Pop Art americano era tan poderoso y tan optimista. Pero también era muy limitado, y eso nos llevó a creer que de alguna manera podríamos distanciarnos de él y comunicar una intención diferente.

  Gerhard Richter

  Art, Powerful, Distance

• Composition is a side issue. Its role in my selection of photographs is a negative one at best. By which I mean that the fascination of a photograph is not in its eccentric composition but in what it has to say: its information content. And, on the other hand, composition always also has its own fortuitous rightness.

  Gerhard Richter

  Art, Mean, Issues

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

• 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.

• Tal vez las puertas, las cortinas, los cuadros de superficie, los cristales, etc. sean metáforas de la desesperación, impulsadas por el dilema de que nuestro sentido de la vista nos hace aprehender las cosas, pero al mismo tiempo restringe y en parte impide nuestra aprehensión de la realidad.

  Gerhard Richter

  Art, Reality, Glasses

  Robert Storr, Gerhard Richter, Museum of Modern Art (New York, N.Y.) (2002). “Gerhard Richter: Forty Years of Painting”, p.49, The Museum of Modern Art

• If the abstract paintings show my reality, then the landscapes and still-lifes show my yearning.

  Gerhard Richter

  Art, Reality, Abstract Painting

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

• I believe I am looking for rightness. My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation. In nature everything is always right: the structure is right, the proportions are good, the colours fit the forms. If you imitate that in painting, it becomes false.

  Gerhard Richter

  Arte, Creer, Realidad

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

• I began in 1976, with small abstract paintings that allowed me to do what I had never let myself do: put something down at random. And then, of course, I realized that it never can be random. It was all a way of opening a door for me. If I don't know what's coming - that is, if I have no hard-and-fast image, as I have with a photographic original - then arbitrary choice and chance play an important part.

  Gerhard Richter

  Art, Doors, Play

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

• The reason these paintings are destined for New York is not because I am disappointed about a lack of German interest, but because MoMA asked me, and because I consider it to be the best museum in the world.

  Gerhard Richter

  Arte, New York, Museos

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

• Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly.

  Gerhard Richter

  Art, Blue, Yellow

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

• I'm trying to paint a picture of what I have seen and what moved me, as well as I can. That's all.

  Gerhard Richter

  Art, Trying, Painting

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

• It was not possible for us to produce the same optimism and the same kind of humour or irony. Actually, it was not irony. Lichtenstein is not ironic but he does have a special kind of humour. That's how I could describe it: humour and optimism. For Polke and me, everything was more fragmented. But how it was broken up is hard to describe.

  Gerhard Richter

  Art, Broken, Optimism

• I don't create blurs. Blurring is not the most important thing; nor is it an identity tag for my pictures.

  Gerhard Richter

  Art, Important, Identity

  FaceBook post by Gerhard Richter from Aug 18, 2015

• 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

• 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.

  Gerhard Richter

  Art, Numbers, Arbitrary

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