相片画

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This time the entire floor is covered with cut-up illustrated journals, a new tic and trick of mine (eight days now): I cut out photos from illustrated journals and dissolve them with a chemical solution and swipe and smear them. That is fabulous fun. I have always loved illustrated magazines, perhaps because of their documentary actuality. I have also already made a few attempts to paint something like that in a larger format. Curious to see how it will continue. I am pursuing something which in a certain way resembles the most recent movement: Pop art (from popular), probably came up in America and is now heating up the minds here.

Letters to Two Artist Friends. From Düsseldorf, March 10, 1963, to Helmut and Erika Heinze SOURCE

Gerhard Richter: Images of an Era, Hirmer Publishers Munich, 2011, pp. 54/55


I am primarily painting from photographs these days (from illustrated magazines but also from family photos), in a sense this is a stylistic problem, the form is naturalistic, even though the photograph is not nature at all but a prefabricated product (the “second-hand world” in which we live), I do not have to intervene artistically with style, since the stylization (deformation in form and color) contributes only under very particular circumstances toward clarifying and intensifying an object or a subject (generally stylization becomes the central problem which obscures everything else (object, subject), it leads to an unmotivated artificiality, an untouchable formalist taboo.

Letters to Two Artist Friends. From Denmark, July 19, 1963, to Helmut and Erika Heinze SOURCE

Gerhard Richter: Images of an Era, Hirmer Publishers Munich, 2011, p. 56


我根据相片作画时并不存在有意识的思考,我不知道自己在做什么。我的作品一点都不属于任何形式的写实主义,反而比较接近不定型艺术(Informel)。相片有属于它自身的抽象,但不是容易看透的抽象。

Notes, 1964-65 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 29


至于表面是则传统方式上色的布面油彩。我的画与原照之间的关系不多,其实彻底就是画(先不追究这到底是什么意思)。但从另一方面看来,这些画和照片又非常相似,因为将照片和其他画区分开来的那个东西被保留得很完整。

Notes, 1964-65 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 31


你是根据原版相片创作的,请问你如何确定自己的主题?
我的决定可能是从反面进行的,换句话说,我试着避免牵涉到任何比较受关注的问题,甚至是彻底避免任何问题,无论是绘画相关、社会或审美相关的问题。我尝试找一个不明显的方向,同时也避免了所有陈腐的主题。但我同时也试着避免让陈腐变成我的问题和商标,换句话说,这整体而言就是一种规避的举动。

Interview with Rolf-Gunter Dienst, 1970 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 54


为什么你大多数的画看起来像模糊的相片?
我从来都不觉得模糊的画缺少些什么,相反的,在模糊的图像里,你可以看到比清晰的图像更多的东西。描绘准确的风景画强迫你必须看到数量特定、界定明确的树,但在模糊的画里,你想看到多少棵树都可以,这种画比较开放。

Interview with Irmeline Lebeer, 1973 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 81


和这些彩色画相比,你早期的黑白画对你而言具有不同的特质,或是不同的意义吗?比方说,使用黑白是不是将自己更加抽离的一种方法,或者是你试图呈现客观性的一种方式?
基本上对那个时代而言,创作黑白油画是比较不平常的,因为所有的报纸和包括电视在内的日常照片材料都是黑白的,相册和摄影本身也是黑白的,现在很难想像那种情况。 所以在题材全新的情况下,黑白画可以为画作注入一种现实感。我现在再看这些画,觉得它们与相片的类似处和纪录性都不是很明显,因为这些画看起来就像画,但黑白相片却可以保留住一种独特的特质。F.A.Z. [Frankfurter Allgemeine Zeitung] 仍然使用黑白相片,即使大多数人希望它们能用彩色相片。

Interview with Babette Richter, 2002 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 442


Yet today you would follow these interpretations of the meaning of your work with interest, and say that the motifs were chosen arbitrarily?
Everything has a reason, including the selection of the photos, which was not arbitrary but appropriate to the period, its highs and lows and my sense of them.

On Pop, East and West, and Some of the Picture Sources. Uwe M. Schneede in Conversation with Gerhard Richter SOURCE

Gerhard Richter: Images of an Era, Hirmer Publishers Munich, 2011, p. 104


In 1963, you wrote to Helmut Heinze that you found the “emblematic images” of the time in the tabloids, that as an artist it was snobbish to reject such popular pictures. Did you want to make pictures people liked?
The desire to please is maligned, unfairly. There are many sides to it. First of all, pictures have to arouse interest before people will even look at them, and then they have to show something that holds that interest – and naturally they have to be presentable, just as a song has to be sung well, otherwise people run away. One mustn't underrate this quality, and I have always been delighted when my pieces have also appealed to the museum guards, the laymen.

On Pop, East and West, and Some of the Picture Sources. Uwe M. Schneede in Conversation with Gerhard Richter SOURCE

Gerhard Richter: Images of an Era, Hirmer Publishers Monaco di Baviera, 2011, pp. 109/110


What are you trying to achieve with these realistic images?
I'm trying to paint a picture of what I have seen and what moved me, as well as I can. That's all.

I Have Nothing to Say and I'm Saying it, Conversation between Gerhard Richter and Nicholas Serota, Spring 2011 SOURCE

Gerhard Richter. Panorama. A Retrospective, Tate Publishing, London, 2011, p. 26


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