Gerhard Richter citáty (98 citátů, strana 3)

Gerhard Richter: 98 citátů1 lajk

Gerhard Richter citáty a výroky

„Neustále se pokořují rekordy, a přestože bych se měl radovat, pokaždé je mi z toho úzko. Částky, které se dnes platí za umění, jsou skutečně šokující.“

Gerhard Richter

jako nejdražší žijící umělec na světě
Zdroj: [Nejdražším žijícím umělcem na světě je znovu německý malíř Richter, ihned.cz, 2015-05-06, 2015-05-26, http://art.ihned.cz/umeni/c1-63965160-gerhard-richter-index]

„To, co označujeme jako skutečnost, není zde a není skutečné, dokud se to nestane skutečností v podobě umění. Umění tedy nikdy nepodává výpověď o skutečnosti, je samo jedinou skutečností, která existuje.“

Gerhard Richter

Zdroj: Walther, Ingo F. (ed.), Umění 20. století, Taschen/Slovart, Praha 2011, s. 342, ISBN 978-80-7391-572-8.

Gerhard Richter: Citáty anglicky

“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.”

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Gerhard Richter

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

“Shocking, absolutely shocking – they [the German w:Fluxus artists] pissed in the tub, snag the German national anthem, covered the audience with paper, poured laundry detergent into the piano, attached microphones to fountain pens.... it was all very cynical and destructive; it was a signal for us and we (the German artists Lueg and Polke and Gerhard Richter himself] became [also] cynical and cocky.”

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Gerhard Richter

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

“When I first painted a number of canvases grey all over (about eight years ago), I did so because I did not know what to paint, or what there might be to paint: so wretched a start could lead to nothing meaningful. As time went on, however, I observed differences of quality among the grey surfaces – and also that these betrayed nothing of the destructive motivation that lay behind them. The pictures began to teach me. By generalizing a personal dilemma, they resolved it.”

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Gerhard Richter

Quote of Richter on his 'Grey Paintings', in a letter to nl:Edy de Wilde, 23 February 1975; as cited on collected quotes on the website of Gerhard Richter: on 'Grey-paintings' https://www.gerhard-richter.com/en/quotes/subjects-2/grey-paintings-9 1970's

“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.”

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Gerhard Richter

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' https://www.gerhard-richter.com/en/quotes/subjects-2/colour-charts-8 1970's

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

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Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“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.”

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Gerhard Richter

Notes, 1985; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6 1980's

“They [Richter always works on a number of his abstract paintings at the same time] feed off one another… At the beginning, I feel totally free, and it's fun, like being a child. The paintings can look good for a day or an hour. Over time, they change. In the end, you become like a chess player. It takes me longer than some people to recognize their quality, their situation - to realize when they are finished. Finally, one day I enter the room and say, 'Checkmate.' Then sometimes I need a break, a quiet job, like a landscape. But I always need to paint abstracts again. I need that pleasure.”

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Gerhard Richter

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

“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.”

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Gerhard Richter

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 1960's

“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.)”

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Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“If, while I'm painting, I distort or destroy a motif, it is not a planned or conscious act, but rather it has a different justification: I see the motif, the way I painted it, is somehow ugly or unbearable. Then I try to follow my feelings and make it attractive. And that means a process of painting, changing or destroying – for however long it takes – until I think it has improved. And I don't demand an explanation from myself as to why this is so.”

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Gerhard Richter

Quote in an interview with Astrid Kaspar, 2000; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques' https://www.gerhard-richter.com/en/quotes/techniques-5 after 2000

“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.”

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Gerhard Richter

Zdroj: after 2000, Doubt and belief in painting' (2003), pp. 96, note 31

“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.”

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Gerhard Richter

Notes, 1962; as cited on collected quotes on the website of Gerhard Richter: 'on Art' https://www.gerhard-richter.com/en/quotes/art-1 1960's

“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.”

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Gerhard Richter

Zdroj: after 2000, Doubt and belief in painting' (2003), p. 106, note 59

“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.”

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Gerhard Richter

Richter is questioning here the 'picture of reality'
Zdroj: after 2000, Doubt and belief in painting' (2003), p. 87, note 13

“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.”

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Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“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.”

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Gerhard Richter

undated quotes, The Daily Practice of Painting, Writings (1962-1993)

“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.”

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Gerhard Richter

Quote from an interview with Sabine Schütz, 1990; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6 1990's

“My works are not just rhetorical, except in the sense that all art is rhetorical. I believe in beauty.”

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Gerhard Richter

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

“So I started to paint like crazy, from figurative to abstract. Then after a year, I put it all on a bonfire in the courtyard of the academy. I suppose there was some ritual involved, but I didn't tell anyone before I did it, so it wasn't public, and I felt the work had to be burned because people were already taking things and paintings were starting to circulate. I had to prevent that because I realized it was time to start from scratch. Photographs were the way forward. I'm shocked now that the story seems clear, because it didn't seem clear at the time.”

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Gerhard Richter

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

“I can bear this - that I am not the young wild guy [as he was in the 1970's]. I hope that the lust to work doesn't leave me. That would be sad. I am glad to get honors and high prices. But artists are valued today in terms of money, auctions. I wish society would need art more, but it doesn't. So I feel very lonely in this culture.”

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Gerhard Richter

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

“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.”

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Gerhard Richter

Notes for a press conference, November-December 1988 (held at Museum Haus Esters, Krefeld, Feb. 1989)
1980's

“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.”

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Gerhard Richter

Zdroj: after 2000, Doubt and belief in painting' (2003), p. 95, note 28

“But my motivation was more a matter of wanting to create order – to keep track of things. All those boxes full of photographs and sketches weigh you down, because they have something unfinished, incomplete, about them. So it's better to present the usable material in an orderly fashion and throw the other stuff away. That's how the Atlas came to be, and I exhibited it a few times.”

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Gerhard Richter

Quote of an interview with Stefan Koldehoff, 1999; as cited on collected quotes on the website of Gerhard Richter: 'on Atlas' https://www.gerhard-richter.com/en/quotes/atlas-4 1990's

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

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Gerhard Richter

Zdroj: after 2000, Doubt and belief in painting' (2003), p. 51, note 63

“This superficial blurring has something to do with the incapacity I have just mentioned. I can make no statement about reality clearer than my own relationship to reality; and this has a great deal to do with imprecision, uncertainty, transience, incompleteness, or whatever. But this doesn't explain the pictures. At best it explains what led to their being painted.”

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Gerhard Richter

in an interview with Rolf Schön, 1972; as cited on collected quotes on the website of Gerhard Richter: 'on Techniques' https://www.gerhard-richter.com/en/quotes/techniques-5 1970's

“My first photo Picture? I was doing large pictures in gloss enamel... One day a photograph of Brigit Bardot fell into my hands, and I painted it into one of these pictures in shades of grey. I had had enough of bloody painting, and painting from a photograph seemed to me the most moronic.... thing that everyone could do.”

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Gerhard Richter

Zdroj: after 2000, Doubt and belief in painting' (2003), p. 43, note 36 : quote on his start with photography

“I was called a formalist, and in East Germany that meant you could be denied a chance to exhibit. So I knew I had to leave [to West-Germany], not because I was worried about the controversy but because I knew the controversy was about a bad picture. It wasn't good enough to be controversial. I was getting all the wrong reactions. Friends said the work was wonderful, and the attacks made it seem more important than it was. I had started to earn money with the murals. I earned enough to get a car. That was a big deal. So it was not easy to give up. But I knew I had to leave.”

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Gerhard Richter

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

“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.”

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Gerhard Richter

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

“I was enormously impressed by Jackson Pollock and Lucio Fontana.... the sheer brazenness of it! That really fascinated me and impressed me. I might almost say that those paintings were the real reason I left the GDR [ German Democratic Republic ]. I realized that something was wrong with my whole way of thinking... I lived my life with a group of people who laid claim to a moral aspiration, who wanted to bridge a gap... And so the way we thought, and what we wanted for our own art, was all about compromise.”

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Gerhard Richter

Zdroj: after 2000, Doubt and belief in painting' (2003), p. 37

“The truth [is in his paintings]... When they have a similar structure to and are organized in as truthful a way as nature. When I look out of the window, then truth for me is the way nature shows itself in its various tones, colours and proportions. That's a truth and has its own correctness. This little slice of nature, and in fact any given piece of nature, represents to me an ongoing challenge, and is a model for my paintings.”

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Gerhard Richter

In an interview with Christiane Vielhaber, 1986; as cited on collected quotes on the website of Gerhard Richter: 'on Other subjects' https://www.gerhard-richter.com/en/quotes/other-aspects-6 1980's