A Quote by Gerhard Richter
My work has so much to do with reality that I wanted to have a corresponding rightness. That excludes painting in imitation.
Related Quotes
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.
There's something always instinctively visually right about nature. There's no difference, to my eye, between looking at a great painting and looking at nature. Because painting, when it's great, has the same immutable rightness, unquestioned rightness, about it.
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.
Here, reality is not subordinated to painting, indeed painting seems the handmaid of reality, though we feel it tending towards a procedure which, while not at the mercy of appearances, is not yet in conflict with them.
The picture is the imitation and converted reality of the goods, in short, an indirect substitute for reality.
Rightness of limitation is essential for growth of reality.
The point of painting is not really deception or imitation.
Doctrinal rightness and rightness of ecclesiastical position are important, but only as a starting point to go on into a living relationship - and not as ends in themselves.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
By imitating the manners and the mode of life of the West, the Muslims are being gradually forced to adopt the Western moral outlook: for the imitation of outward appearance leads, by degrees, to a corresponding assimilation of the world-view responsible for that appearance.
When I was growing up, I wanted to be a house painter like my father, but I was always screwing up when I went to work with him. I had a talent for knocking over paint and painting myself into corners. I also realized fairly quickly that painting bored me.
Art is not merely an imitation of the reality of nature, but in truth a metaphysical supplement to the reality of nature, placed alongside thereof for its conquest.
Since a true knowledge of nature gives us pleasure, a lively imitation of it, either in poetry or painting, must produce a much greater; for both these arts are not only true imitations of nature, but of the best nature.
Awareness means to listen to me unfocused - alert of course, not fallen asleep, but alert to these birds, their chirping, alert to the wind that passes through the trees, alert to everything that is happening. Concentration excludes much, includes little. Awareness excludes nothing, includes all. Awareness is a state of no-mind. You are, yet you are not focused. You are just a mirror reflecting all, echoing all; see the beauty of it and the silence and the stillness.
But when I worked on a painting I would do it from a drawing but I would put certain things I was fairly sure I wanted in the painting, and then collage on the painting with printed dots or painted paper or something before I really committed it.
At its edges, a painting makes its surrender to reality. The ways in which it can do so are endlessly revealing, as infinite as the potential forms of painting itself.
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