Gerhard Richter

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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.

Interview with Stefan Koldehoff, 1999, 1999 SOURCE
Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 14

The atlas belongs to the Lenbachhaus in Munich – it's long since ceased to belong to me. Occasionally I run across it somewhere, and I think it's interesting because it looks different each time.

Interview with Stefan Koldehoff, 1999, 1999 SOURCE
Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 14

Flicking through the atlas one can see that you really have painted less from photographs during the last few years. Have your selection criteria become more rigid?
Maybe that, too, but it's generally related to the fact that I've been taking far more photographs during these years, so I wouldn't even be able to consider painting them all. So the atlas was also a means of collecting the pictures, like in a diary – a way to sort them, put them away.

Interview with Astrid Kaspar, 2000, 2000 SOURCE
Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 14

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