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The smudging makes the paintings a bit more complete. when they're not blurred, so many details seem wrong, and the whole thing is wrong too. then smudging can help make the painting invincible, surreal, more enigmatic - that's how easy it is.
-Gerhard Richter
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The Smudging Makes The Paintings A Bit

Gerhard Richter
The smudging makes the paintings a bit more complete. when they're not blurred, so many details seem wrong, and the whole thing is wrong too. then smudging can help make the painting invincible, surreal, more enigmatic - that's how easy it is.
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Art Technique Details

More From Gerhard Richter

I was born with the wrong sign in the wrong house with the wrong ascendancy i took the wrong road that led to the wrong tendencies i was in the wrong place at the wrong time for the wrong reason and the wrong rhyme on the wrong day of the wrong week used the wrong method with the wrong technique wrong wrong.
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All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. but who cares about painting? what we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in brooklyn on the avenue and there's food and flowers.
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No man is invincible, and therefore no man can fully understand that which would make him invincible. even with complete and thorough study there is always the possibility of being defeated and although one may be expert in a particular form, mastery is something a man never stops seeking to attain.
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People want to know those details. they think it gives them greater insight into a piece of art, but when they approach a painting in such a manner, they are belittling both the artist’s work and their own ability to experience it. each painting i do says everything i want to say on its subject and in terms of that painting, and not all the trivia in the world concerning my private life will give the viewer more insight into it than what hangs there before their eyes. frankly, as far as i’m concerned, even titling a work is an unnecessary concession.
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When i was painting in art school - and i think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
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When i am in a painting, i'm not aware of what i'm doing. it is only after a sort of 'get acquainted' period that i see what i have been about. i have no fears about making changes, destroying the image, etc, because the painting has a life of its own. i try to let it come through. it is only when i lose contact with the painting that the result is a mess. otherwise there is pure harmony, an easy give and take, and the painting comes out well.
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