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The first 'Colour charts' were unsystematic. They were based directly on commercial colour samples. They were still related to Pop Art. In the canvas… - Gerhard Richter
" "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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About Gerhard Richter
Gerhard Richter (born 9 February 1932) is a prominent German artist who is considered by some critics to be one of the most important German artists of the post-World War II period.
Also Known As
Alternative Names:
Gehede Lixite
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Geruharuto Rihitā
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Gerd Richter
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Additional quotes by Gerhard Richter
The photograph reproduces objects in a different way from the painted picture, because the camera does not apprehend objects: it sees them. In 'free-hand drawing' the object is apprehended in all it parts.. .By tracing the outlines with the aid of a projector you can bypass and elaborate this process of apprehension. You no longer apprehend but see and make (without design) what you have not apprehended. And when you don't know what you are making, you don't know, either, what to alter or distort.
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.
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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.
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