Gerhard Richter

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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 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.

Interview with Irmeline Lebeer, 1973, 1973 SOURCE
Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 14

So, in 1966, when you started to paint non-figurative pictures, colours charts, did that also have something to do with a head-on confrontation with Minimal art? Was that another conflict situation, a rejection of American dominance, or was it through an evolutionary process of your own, rooted in the immediate, local context here in Düsseldorf? Was it through meeting Palermo, perhaps?
Yes, it certainly did have something to do with Palermo and his interests, and later with Minimal art as well; but when I painted my first Colour Charts in 1966, that had more to do with Pop Art. They were copies of paint sample cards, and what was effective about them was that they were directed against the efforts of the Neo-Constructivists, Albers and the rest.

Interview with Benjamin H. D. Buchloh, 1986, 1986 SOURCE
Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 14

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