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German language visual artist

Gerhard Richter
Gerhard Richter, Prague (2017).jpg

Gerhard Richter (2017)
Built-in (1932-02-09) 9 Feb 1932 (age xc)

Dresden, Germany
Nationality German
Education Dresden Art University, Kunstakademie Düsseldorf
Known for Painting
Motility abstract fine art, photo realism, conceptual fine art, capitalist realism
Website www.gerhard-richter.com

Gerhard Richter (German language: [ˈʁɪçtɐ]; born ix February 1932[1]) is a German visual artist. Richter has produced abstract likewise equally photorealistic paintings, and besides photographs and glass pieces. He is widely regarded equally one of the virtually important contemporary German artists and several of his works accept set record prices at sale.

Personal life [edit]

Babyhood and instruction [edit]

Richter was built-in in Hospital Dresden-Neustadt in Dresden, Saxony,[2] and grew upward in Reichenau, Lower Silesia (now Bogatynia, Poland), and in Waltersdorf (Zittauer Gebirge), in the Upper Lusatian countryside, where his male parent worked as a village instructor. Gerhard's mother, Hildegard Schönfelder, gave birth to him at the age of 25. Hildegard's begetter, Ernst Alfred Schönfelder, at in one case was considered a gifted pianist. Ernst moved the family unit to Dresden after taking up the family unit enterprise of brewing and eventually went broke. Once in Dresden, Hildegard trained as a bookseller, and in doing then realized a passion for literature and music. Gerhard'due south father, Horst Richter, was a mathematics and physics student at the Technische Hochschule in Dresden. The 2 were married in 1931.[3]

After struggling to maintain a position in the new National Socialist education organisation, Horst constitute a position in Reichenau. Gerhard's younger sister, Gisela, was born there in 1936. Horst and Hildegard were able to remain primarily apolitical due to Reichenau's location in the countryside.[4] Horst, existence a instructor, was eventually forced to bring together the National Socialist Party. He never became an avid supporter of Nazism, and was not required to attend party rallies.[4] In 1942, Gerhard was conscripted into the Deutsches Jungvolk, just by the end of the war he was still too young to be an official fellow member of the Hitler Youth.[5] In 1943, Hildegard moved the family unit to Waltersdorf, and was afterward forced to sell her piano.[half dozen] Two brothers of Hildegard died as soldiers in the war and a sis, who was schizophrenic, was starved to death in the Nazi euthanasia programme.[ane]

Richter left schoolhouse afterwards 10th class and apprenticed as an advertising and phase-set painter, earlier studying at the Dresden Academy of Fine Arts. In 1948, he finished vocational loftier school in Zittau, and, between 1949 and 1951, successively worked equally an apprentice with a sign painter and equally a painter.[7] In 1950, his application for written report at the Dresden Academy of Fine Arts was rejected as "likewise bourgeois".[vii] He finally began his studies at the Academy in 1951. His teachers there were Karl von Appen, Heinz Lohmar [de] and Will Grohmann.

Relationships [edit]

Richter married Marianne Eufinger in 1957; she gave birth to his first daughter. He married his second wife, the sculptor Isa Genzken, in 1982. Richter had two sons and a daughter with his tertiary wife, Sabine Moritz after they were married in 1995.

Early on career [edit]

In the early days of his career, he prepared a wall painting (Communion with Picasso, 1955) for the refectory of his Academy of Arts equally part of his B.A. Another mural entitled Lebensfreude (Joy of life) followed at the German Hygiene Museum for his diploma. Information technology was intended to produce an upshot "similar to that of wallpaper or tapestry".[eight]

From 1957 to 1961 Richter worked as a primary trainee in the academy and took commissions for the and then state of E Germany. During this time, he worked intensively on murals like Arbeiterkampf (Workers' struggle), on oil paintings (eastward.g. portraits of the Due east German actress Angelica Domröse and of Richter's commencement wife Ema), on diverse self-portraits and on a panorama of Dresden with the neutral name Stadtbild (Townscape, 1956).

Together with his wife Marianne, Richter escaped from East to West Deutschland 2 months before the building of the Berlin Wall in 1961. Both his wall paintings in the Academy of Arts and the Hygiene Museum were and so painted over for ideological reasons. Much afterwards, afterwards High german reunification, two "windows" of the wall painting Joy of life (1956) would be uncovered in the stairway of the High german Hygiene Museum, simply these were subsequently covered over when it was decided to restore the Museum to its original 1930 state.

In Due west Germany Richter began to study at the Kunstakademie Düsseldorf under Karl Otto Götz together with Sigmar Polke, Werner Hilsing, HA Schult,[9] Kuno Gonschior, Hans Erhard Walther, Konrad Lueg and Gotthard Graubner.[10] [11] With Polke and Konrad Fischer [de] (pseudonym Lueg) he introduced the term Kapitalistischer Realismus (Capitalistic Realism)[12] [xiii] every bit an anti-style of fine art, appropriating the pictorial shorthand of advertizement. This title also referred to the realist mode of art known equally Socialist Realism, and so the official fine art doctrine of the Soviet Matrimony, but it also commented upon the consumer-driven fine art doctrine of western commercialism.

Richter taught at the Hochschule für bildende Künste Hamburg and the Nova Scotia College of Art and Design as a visiting professor; he returned to the Kunstakademie Düsseldorf in 1971, where he worked as a professor for over 15 years.

In 1983, Richter resettled from Düsseldorf to Cologne, where he all the same lives and works today.[14] In 1996, he moved into a studio designed by builder Thiess Marwede.[15] With an estimated fortune of €700 1000000, Richter was ranked number 220 of the richest 1,001 individuals and families in Germany by the monthly business concern publication Manager Magazin in 2017.[16]

Art [edit]

Photo-paintings and the "blur" [edit]

Richter created various painting pictures from black-and-white photographs during the 1960s and early 1970s, basing them on a variety of sources: newspapers and books, sometimes incorporating their captions, (as in Helga Matura (1966)); individual snapshots; aerial views of towns and mountains, (Cityscape Madrid (1968) and Alps (1968)); seascapes (1969–seventy); and a large multipart work made for the German Pavilion in the 1972 Venice Biennale. For Forty-viii Portraits (1971–72), he chose mainly the faces of composers such equally Gustav Mahler and Jean Sibelius, and of writers such as H. K. Wells and Franz Kafka.[17]

From around 1964, Richter fabricated a number of portraits of dealers, collectors, artists and others connected with his firsthand professional circle. Richter's 2 portraits of Betty, his daughter, were made in 1977 and 1988 respectively; the three portraits titled IG were made in 1993 and describe the artist'southward second wife, Isa Genzken. Lesende (1994) portrays Sabine Moritz, whom Richter married in 1995, shown captivated in the pages of a magazine.[18] Many of his realist paintings reflect on the history of Naziism, creating paintings of family members who had been members, besides as victims of, the Nazi political party.[19] From 1966, as well every bit those given to him by others, Richter began using photographs he had taken as the footing for portraits.[eighteen] In 1975, on the occasion of a show in Düsseldorf, Gilbert & George commissioned Richter to make a portrait of them.[xx]

Richter began making prints in 1965. He was most agile before 1974, only completing sporadic projects since that time. In the period 1965–1974, Richter made most of his prints (more than 100), of the same or similar subjects in his paintings.[21] He has explored a diversity of photographic printmaking processes – screenprint, photolithography, and collotype – in search of inexpensive mediums that would lend a "not-art" advent to his piece of work.[22] [23] He stopped working in print media in 1974, and began painting from photographs he took himself.[21]

While elements of landscape painting appeared initially in Richter'southward work early on in his career in 1963, the artist began his independent series of landscapes in 1968 afterward his first vacation, an excursion that landed him besotted with the terrain of Corsica.[24] Landscapes have since emerged every bit an independent work grouping in his oeuvre.[25] Co-ordinate to Dietmar Elger, Richter's landscapes are understood within the context of traditional of German Romantic Painting. They are compared to the piece of work of Caspar David Friedrich (1774–1840). Friedrich is foundational to German landscape painting. Each artist spent formative years of their lives in Dresden.[26] Große Teyde-Landschaft (1971) takes its imagery from similar holiday snapshots of the volcanic regions of Tenerife.[27]

Atlas was first exhibited in 1972 at the Museum voor Hedendaagse Kunst in Utrecht under the title Atlas der Fotos und Skizzen, it included 315 parts. The work has continued to expand, and was exhibited later in full course at the Lenbachhaus in Munich in 1989, the Museum Ludwig in Cologne in 1990, and at Dia Fine art Foundation in New York in 1995. Atlas continues as an ongoing, encyclopedic piece of work composed of approximately iv,000 photographs, reproductions or cutting-out details of photographs and illustrations, grouped together on approximately 600 separate panels.[28]

In 1972, Richter embarked on a ten-day trip to Greenland, his friend Hanne Darboven was meant to back-trail him, but instead he traveled alone. His intention was to experience and record the desolate arctic landscape. In 1976, four large paintings, each titled Seascape emerged from the Greenland photographs.[29]

In 1982 and 1983, Richter made a series of paintings of Candles and Skulls that relate to a longstanding tradition of however life memento mori painting. Each composition is most unremarkably based on a photograph taken by Richter in his own studio. Influenced past former master vanitas painters such as Georges de La Tour and Francisco de Zurbarán, the artist began to experiment with arrangements of candles and skulls placed in varying degrees of natural light, sitting atop otherwise barren tables. The Candle paintings coincided with his starting time large-scale abstruse paintings, and represent the complete antithesis to those vast, colorful and playfully meaningless works. Richter has fabricated just 27 of these however lifes.[30] In 1995, the artist marked the 50th anniversary of the allied bombings of his hometown Dresden during the Second World War. His solitary candle was reproduced on a awe-inspiring calibration and placed overlooking the River Elbe as a symbol of rejuvenation.[31]

In a 1988 series of 15 cryptic photograph paintings entitled 18 October 1977, he depicted four members of the Red Army Faction (RAF), a High german left-wing militant organization. These paintings were created from black-and-white newspaper and police photos. Three RAF members were found dead in their prison cells on 18 October 1977 and the cause of their deaths was the focus of widespread controversy.[32] In the belatedly 1980s, Richter had begun to collect images of the grouping which he used equally the basis for the 15 paintings exhibited for the first fourth dimension in Krefeld in 1989. The paintings were based on an official portrait of Ulrike Meinhof during her years as a radical journalist; on photographs of the arrest of Holger Meins; on police shots of Gudrun Ensslin in prison; on Andreas Baader's bookshelves and the record player to muffle his gun; on the expressionless figures of Meinhof, Ensslin, and Baader; and on the funeral of Ensslin, Baader, and January-Carl Raspe.

Since 1989, Richter has worked on creating new images past dragging wet paint over photographs. The photographs, non all taken by Richter himself, are more often than not snapshots of daily life: family unit vacations, pictures of friends, mountains, buildings and streetscapes.

Richter was flight to New York on 11 September 2001, simply due to the 9/eleven attacks, including on the Earth Trade Center, his plane was diverted to Halifax, Nova Scotia. A few years later, he made one small-scale painting specifically well-nigh the planes crashing into the World Merchandise Heart.[33] In September: A History Painting by Gerhard Richter, Robert Storr situates Richter's 2005 painting September within a make of anti-ideological thought that he finds throughout Richter'due south work. He considers how the ubiquitous photographic documentation of 11 September attacks affects the uniqueness of one's distinct remembrance of the events, and he offers a valuable comparison to Richter's 18 October 1977 cycle.[34]

In the 2000s, Richter made a number of works that dealt with scientific phenomena. In 2003, he produced several paintings with the same championship: Silicate. Large oil-on-canvas pieces, these bear witness latticed rows of light- and night-greyness blobs whose shapes quasi-repeat as they race across the frame, their bending modulating from painting to painting. They draw a photo, published in the Frankfurter Allgemeine Zeitung, of a computer-generated simulacrum of reflections from the silicon dioxide institute in insects' shells.[35]

Abstruse work [edit]

Coming full-circle from his early on Table (1962) in which he cancelled his photorealist paradigm with haptic swirls of grayness paint,[36] in 1969, Richter produced the first of a group of grey monochromes that consist exclusively of the textures resulting from different methods of paint application.

In 1976, Richter first gave the title Abstruse Painting to one of his works. By presenting a painting without even a few words to proper name and explain it, he felt he was "letting a affair come, rather than creating information technology." In his abstruse pictures, Richter builds up cumulative layers of non-representational painting, start with brushing large swaths of primary color onto sheet.[37] The paintings evolve in stages, based on his responses to the picture'southward progress: the incidental details and patterns that sally. Throughout his process, Richter uses the same techniques he uses in his representational paintings, blurring and scraping to veil and expose prior layers.[38]

From the mid-1980s, Richter began to use a bootleg squeegee to rub and scrape the paint that he had practical in large bands across his canvases.[38] In an interview with Benjamin H.D. Buchloch in 1986, Richter was asked near his "Monochrome Grayness Pictures and Abstract Pictures" and their connectedness with the artists Yves Klein and Ellsworth Kelly. The following are Richter'south answers:

The Grey Pictures were done at a fourth dimension when there were monochrome paintings everywhere. I painted them still. ... Not Kelly, just Bob Ryman, Brice Marden, Alan Charlton, Yves Klein and many others.[39]

In the 1990s the artist began to run his duster up and down the sail in an ordered mode to produce vertical columns that have on the await of a wall of planks.[38]

Richter's abstract work and its illusion of space developed out of his incidental process: an accumulation of spontaneous, reactive gestures of calculation, moving, and subtracting paint. Despite unnatural palettes, spaceless sheets of colour, and obvious trails of the artist's tools, the abstract pictures often human activity like windows through which we see the landscape outside. As in his representational paintings, in that location is an equalization of illusion and paint. In those paintings, he reduces worldly images to mere incidents of Art. Similarly, in his abstract pictures, Richter exalts spontaneous, intuitive mark-making to a level of spatial logic and believability.[ citation needed ]

Firenze continues a cycle of 99 works conceived in the autumn of 1999 and executed in the same year and thereafter. The series of overpainted photographs, or übermalte Fotographien, consists of small-scale paintings bearing images of the city of Florence, created by the artist as a tribute to the music of Steve Reich and the work of Contempoartensemble, a Florence-based grouping of musicians.[40]

Subsequently 2000, Richter made a number of works that dealt with scientific phenomena, in particular, with aspects of reality that cannot exist seen by the naked center.[41] In 2006, Richter conceived six paintings as a coherent group under the championship Cage, named subsequently the American advanced composer John Muzzle.[42] The Cage paintings are large works constructed from intersecting fields, lines, and swaths of uneven smears that reflect the broad squeegee tool which Richter drags across the canvases, before removing areas of paint to generate a subtractive method of concealing and revealing variegated layers and patches.[43] In May 2002, Richter photographed 216 details of his abstruse painting no. 648-2, from 1987. Working on a long table over a period of several weeks, Richter combined these ten x 15 cm details with 165 texts on the Republic of iraq war, published in the German Frankfurter Allgemeine Zeitung newspaper on twenty and 21 March. This work was published in 2004 as a book entitled State of war Cutting.

In November 2008, Richter began a series in which he applied ink aerosol to wet newspaper, using booze and lacquer to extend and retard the ink's natural trend to bloom and pitter-patter. The resulting November sheets are regarded as a meaning departure from his previous watercolours in that the pervasive soaking of ink into wet paper produced double-sided works. Sometimes the uppermost sheets bled into others, generating a sequentially developing series of images.[44] In a few cases Richter applied lacquer to one side of the sheet, or drew pencil lines across the patches of colour.[45]

Color nautical chart paintings [edit]

Every bit early on as 1966, Richter had made paintings based on colour charts, using the rectangles of colour as plant objects in an apparently limitless variety of hue; these culminated in 1973–4 in a serial of big-format pictures such as 256 Colours.[17] Richter painted three serial of Color Chart paintings between 1966 and 1974, each serial growing more ambitious in their attempt to create through their purely arbitrary arrangement of colors.[46] The artist began his investigations into the complex permutations of color charts in 1966, with a small painting entitled 10 Colors.[47] The charts provided anonymous and impersonal source material, a way for Richter to disassociate color from any traditional, descriptive, symbolic or expressive stop. When he began to make these paintings, Richter had his friend Blinky Palermo randomly call out colors, which Richter then adopted for his work. Chance thus plays its role in the creation of his first serial.

Returning to colour charts in the 1970s, Richter inverse his focus from the readymade to the conceptual organisation, developing mathematical procedures for mixing colours and chance operations for their placement.[48] The range of the colors he employed was determined by a mathematical system for mixing the primary colors in graduated amounts. Each color was then randomly ordered to create the resultant composition and class of the painting. Richter's second serial of Colour Charts was begun in 1971 and consisted of only five paintings. In the last series of Colour Charts which preoccupied Richter throughout 1973 and 1974, additional elements to this permutational system of color production were added in the class of mixes of a light grayness, a dark gray and later, a light-green.

Richter's 4900 Colours from 2007 consisted of bright monochrome squares that take been randomly bundled in a grid blueprint to create stunning fields of kaleidoscopic color. Information technology was produced at the same fourth dimension he developed his pattern for the due south transept window of Cologne Cathedral. 4900 Colours consists of 196 panels in 25 colors that can exist reassembled in 11 variations – from a single expansive surface to multiple small-format fields. Richter adult Version II – 49 paintings, each of which measures 97 by 97 centimeters – especially for the Serpentine Gallery.[49]

Sculpture [edit]

Richter began to use glass in his piece of work in 1967, when he made Four Panes of Glass.[fifty] These plain sheets of glass could tilt away from the poles on which they were mounted at an angle that inverse from one installation to the next. In 1970, he and Blinky Palermo jointly submitted designs for the sports facilities for the 1972 Olympic Games in Munich. For the front end of the arena, they proposed an array of glass windows in xx-seven dissimilar colors; each color would announced fifty times, with the distribution determined randomly. In 1981, for a two-person testify with Georg Baselitz in Düsseldorf, Richter produced the showtime of the monumental transparent mirrors that appear intermittently thereafter in his oeuvre; the mirrors are significantly larger than Richter'south paintings and feature adaptable steel mounts. For pieces such every bit Mirror Painting (Grey, 735-two) (1991), the mirrors were coloured gray by the paint attached to the back of the glass.[51] Bundled in two rooms, Richter presented an ensemble of paintings and colored mirrors in a special pavilion designed in collaboration with builder Paul Robbrecht at Documenta ix in Kassel in 1992.[52]

In 2002, for the Dia Art Foundation, Richter created a glass sculpture in which seven parallel panes of drinking glass refract light and the globe beyond, offering altered visions of the exhibition space; Spiegel I (Mirror I) and Spiegel Ii (Mirror 2), a ii-part mirror piece from 1989 that measures 7' tall and xviii' feet long, which alters the boundaries of the environs and again changes one's visual experience of the gallery; and Kugel (Sphere), 1992, a stainless steel sphere that acts equally a mirror, reflecting the space.[53] Since 2002, the creative person has created a serial of three dimensional drinking glass constructions, such equally 6 Standing Drinking glass Panels (2002/2011).[54]

Drawings [edit]

In 2010, the Drawing Center showed Lines which exercise non exist, a survey of Richter's drawings from 1966 to 2005, including works fabricated using mechanical intervention such as attaching a pencil to an electric hand drill. It was the outset career overview of Richter in the United States since 40 Years of Painting at the Museum of Modernistic Art in 2002.[55] In a review of Lines which do not be, R. H. Lossin wrote in The Brooklyn Rail: "Viewed every bit a personal (and peradventure professional) deficiency, Richter's drawing practice consisted of diligently documenting something that didn't work—namely a manus that couldn't describe properly. ...Richter displaces the concept of the artist'due south hand with difficult prove of his own, wobbly, failed, and very material appendage."[56]

Commissions [edit]

Throughout his career, Richter has mostly declined lucrative licensing deals and private commissions.[57] Measuring nine by 9 ½ feet and depicting both the Milan Duomo and the foursquare's 19th-century Galleria Vittorio Emanuele II, Domplatz, Mailand (1968) was a commission from Siemens, and it hung in that visitor'southward offices in Milan from 1968 to 1998. (In 1998, Sotheby'south sold it in London, where information technology fetched what was then a record price for Richter, $3.6 million).[58] In 1980, Richter and Isa Genzken were commissioned to design the König-Heinrich-Platz clandestine station in Duisburg; it was just completed in 1992. In 1986, Richter received a commission for two large-scale paintings – Victoria I and Victoria Two – from the Victoria insurance visitor in Düsseldorf.[59] In 1990, along with Sol LeWitt and Oswald Mathias Ungers, he created works for the Bayerische Hypotheken- und Wechselbank in Düsseldorf. In 1998, he installed a wall piece based on the colours of Frg's flag in the rebuilt Reichstag in Berlin. In 2012 he was asked to design the first page of the German language paper Die Welt.[60] In 2017 Richter designed the label of the 2015 Chateau Mouton Rothschild's first wine of that year.[61]

Church building windows [edit]

Gerhard Richter, Symphony of Light, c. 2007; stained glass window in the Cologne Cathedral, 20 metres (66 ft) tall

In 2002, the same year as his MoMA retrospective, Richter was asked to design a stained glass window in the Cologne Cathedral. In August 2007, his window was unveiled. Information technology is an 113 square metres (ane,220 sq ft) abstract collage of 11,500 pixel-similar squares in 72 colors, randomly arranged by computer (with some symmetry), reminiscent of his 1974 painting "4096 colours". The creative person waived any fee, and the costs of materials and mounting the window came to around €370,000 ($506,000), covered by donations from more than one,000 people.[62] Cardinal Joachim Meisner did not attend the window's unveiling equally he would have preferred information technology to have been a figurative representation of 20th century Christian martyrs and said that Richter's window would fit better in a mosque or other prayer firm.[63] [64] [65] A professed atheist with "a potent leaning towards Catholicism", Richter had his iii children with his third wife baptized in the Cologne Cathedral.[66]

In September 2020, Richter unveiled his three xxx-pes-tall stained-glass windows for the Tholey Abbey, one of the oldest monasteries in Frg.[67] [68] He called them his terminal major work, adding that he would focus on drawings and sketches from so on.[67] The big choir windows were made by Gustva van Treeck, an esteemed glass workshop in nearby Munich.[67] They are abstract painted works inspired by his "Design" serial from the 1990s.[67] An additional 34 figurative stained glass windows designed for the abbey by Afghan-German Muslim artist Mahbuba Maqsoodi are expected to be completed by Easter 2021.[67] The monks of the abbey hoped the windows would promote tourism to the abbey and its boondocks and bring people into the religion.[67]

Exhibitions [edit]

Richter first began exhibiting in Düsseldorf in 1963. Richter had his showtime gallery solo bear witness in 1964 at Galerie Schmela in Düsseldorf. Soon later on, he had exhibitions in Munich and Berlin and by the early 1970s exhibited ofttimes throughout Europe and the The states. In 1966, Bruno Bischofberger was the first to show Richter'south works outside Frg. Richter'due south first retrospective took place at the Kunsthalle Bremen in 1976 and covered works from 1962 to 1974. A traveling retrospective at Düsseldorf's Kunsthalle in 1986 was followed in 1991 by a retrospective at the Tate Gallery, London. In 1993, he received a major touring retrospective "Gerhard Richter: Malerei 1962–1993" curated past Kasper König, with a three volume catalogue edited past Benjamin Buchloh. This exhibition containing 130 works carried out over the course of xxx years, was to entirely reinvent Richter's career.[36]

Richter became known to a U.S. audience in 1990, when the Saint Louis Art Museum circulated Baader-Meinhof (18 Oct 1977), a show that that was afterwards seen at the Lannan Foundation in Marina del Rey, California.[69] Richter's first North American retrospective was in 1998 at the Art Gallery of Ontario and at the Museum of Contemporary Fine art, Chicago. In 2002, a 40-yr retrospective of Richter's work was held at the Museum of Modernistic Art, New York, and traveled to the Art Institute of Chicago, the San Francisco Museum of Mod Art, and the Hirshhorn Museum and Sculpture Garden, Washington, D.C. He has participated in several international art shows, including the Venice Biennale (1972, 1980, 1984, 1997 and 2007), as well as Documenta 5 (1972), VII (1982), 8 (1987), 9 (1992), and X (1997).[70] In 2006, an exhibition at the Getty Center continued the landscapes of Richter to the Romantic pictures of Caspar David Friedrich, showing that both artists "used abstraction, expansiveness, and emptiness to express transcendent emotion through painting."[71]

The Gerhard Richter Archive was established in cooperation with the creative person in 2005 equally an institute of the Staatliche Kunstsammlungen Dresden.[72]

The first major exhibition of his work in Australia, Gerhard Richter: The Life of Images, was mounted by the Queensland Gallery of Mod Art in Brisbane from 14 October 2017 to four February 2018.[73] It included more than 90 works,[74] including the newly created Atlas Overview, a 400-panel extract selected by Richter from the larger Atlas projection now deemed as well fragile for loan or travel.[75] [76]

Solo exhibitions (pick) [edit]

  • Gerhard Richter 4900 Colours: Version Two at the Serpentine Gallery, London, Britain. 2008[77]
  • Gerhard Richter Portraits at the National Portrait Gallery, London, United Kingdom. 2009[xviii]
  • Gerhard Richter: Panorama at the Tate Modern, London, Uk. 2011[78]
  • Gerhard Richter at the Centre Pompidou, Paris, France. 2012[79]
  • Gerhard Richter: Panorama at the Neue Nationalgalerie, Berlin, Germany. 2012[lxxx]
  • Gerhard Richter – Editions 1965–2011 at me Collectors Room Berlin, Berlin, Germany[81]

Gallery [edit]

  • Gerhard Richter, Undeniable Me, 1971/72, 48 painted portraits at the right; at the left portraits of Gottfried Helnwein, 1991–92

  • Gerhard Richter & Isa Genzken, Wall-art in hugger-mugger, Duisburg, 1980–92, in colorful enamel plates

  • Gerhard Richter, Woods 1., 2005, oil on canvas

  • Gerhard Richter, Woods five., 2005, oil on canvass

  • Gerhard Richter, Symphony of Light, c. 2007, light-fall from the stained drinking glass window in the Kölner Dom

Recognition [edit]

Although Richter gained popularity and critical praise throughout his career, his fame burgeoned during his 2005 retrospective exhibition, which declared his place among the almost important artists of the 20th century. Today, many call Gerhard Richter the all-time living painter. In part, this comes from his ability to explore the medium at a time when many were heralding its expiry. Richter has been the recipient of numerous prominent awards, including the State Prize of the state Due north Rhine-Westphalia in 2000; the Wexner Prize, 1998; the Praemium Imperiale, Nippon, 1997; the Golden King of beasts of the 47th Biennale, Venice, 1997; the Wolf Prize in State of israel in 1994/five; the Goslarer Kaiserring Prize der Stadt Goslar, Mönchehaus-Museum für Moderne Kunst, Goslar, Germany, 1988; the Oskar Kokoschka Prize, Vienna, 1985; the Arnold Bode Prize, Kassel, 1981; and the Junger Western Fine art Prize, Germany, 1961. He was made an honorary citizen of Cologne in April 2007. He was elected to the American Philosophical Society in 2012.[82]

Influence [edit]

Amongst the students who studied with Richter at the Kunstakademie Düsseldorf between 1971 and 1994 were Ludger Gerdes, Hans-Jörg Holubitschka, Bernard Lokai, Thomas Schütte, Thomas Struth, Katrin Kneffel, Michael van Ofen, and Richter's 2d married woman, Isa Genzken. He is known to have influenced Ellsworth Kelly, Christopher Wool and Johan Andersson.

He has also served as source of inspiration for writers and musicians. Sonic Youth used a painting of his for the cover fine art for their album Daydream Nation in 1988. He was a fan of the band and did non charge for the apply of his image.[ citation needed ] The original, over 7 metres (23 ft) square, is now showcased in Sonic Youth'due south studio in NYC.[ citation needed ] Don DeLillo'due south short story "Baader-Meinhof" describes an encounter between two strangers at the Museum of Mod Art in New York. The meeting takes place in the room displaying xviii October 1977 (1988).[83]

Photographer Cotton Coulson described Richter equally "i of [his] favourite artists".[84]

For the last 18 years, Gerhard Richter has been the number 1 on a Kunstkompass scale of most important world artists, fabricated by a german mag Upper-case letter.[85]

Position in the art market place [edit]

Following an exhibition with Blinky Palermo at Galerie Heiner Friedrich in 1971, Richter's formal arrangement with the dealer came to an cease in 1972. Thereafter Friedrich was only entitled to sell the paintings that he had already obtained contractually from Richter.[29] In the following years, Richter showed with Galerie Konrad Fischer, Düsseldorf, and Sperone Westwater, New York. Today Richter is represented by Marian Goodman,[86] his primary dealer since 1985.[30]

Today, museums ain roughly 38% of Richter's works, including half of his large abstract paintings.[57] Past 2004, Richter's annual turnover was $120 1000000.[87] At the same fourth dimension, his works often appear at auction. According to artnet, an online firm that tracks the art market, $76.nine million worth of Richter's work was sold at sale in 2010.[thirty] Richter'due south high turnover volume reflects his prolificacy as well as his popularity. Equally of 2012, no fewer than 545 singled-out Richter's works had sold at auctions for more than $100,000. fifteen of them had sold for more than $10,000,000 betwixt 2007 and 2012.[88] Richter's paintings have been flowing steadily out of Federal republic of germany since the mid-1990s fifty-fifty as certain important High german collectors – Frieder Burda, Josef Fröhlich, Georg Böckmann, and Ulrich Ströher – have held on to theirs.[xxx]

Richter's candle paintings were the first to command high sale prices. Three months after his MoMA exhibition opened in 2001, Sotheby's sold his Three Candles (1982) for $5.3 million. In February 2008, the creative person'south eldest daughter, Betty,[57] sold her Kerze (1983) for £7,972,500 ($xv meg), triple the high gauge, at Sotheby'due south in London.[89] His 1982 Kerze (Candle) sold for £10.five million ($16.5 meg) at Christie's London in October 2011.[90]

In Feb 2008, Christie's London set a first record for Richter'due south "capitalist realism" pictures from the 1960s by selling the painting Zwei Liebespaare (1966) for £seven,300,500 ($14.three one thousand thousand)[91] to Stephan Schmidheiny.[xxx] In 2010, the Weserburg mod art museum in Bremen, Germany, decided to sell Richter'southward 1966 painting Matrosen (Sailors) in a November auction held by Sotheby's, where John D. Arnold[57] bought information technology for $xiii million.[92] Vierwaldstätter See, the largest of a distinct serial of 4 views of Lake Lucerne painted by Richter in 1969, sold for £15.eight million ($24 1000000) at Christie'due south London in 2015.[93]

Another coveted group of works is the Abstrakte Bilder series, particularly those made after 1988, which are finished with a big duster rather than a brush or roller.[30] At Pierre Bergé & Associés in July 2009, Richter's 1979 oil painting Abstraktes Bild exceeded its estimate, selling for €95,000 ($136,000).[94] Richter'due south Abstraktes Bild, of 1990 was made the summit price of seven.ii million pounds, or about $xi.six million, at a Sotheby'due south sale in February 2011 to a bidder who was said by dealers to exist an agent for the New York dealer Larry Gagosian.[95] In November 2011, Sotheby's sold a group of colorful abstract canvases by Richter, including Abstraktes Bild 849-three, which made a record cost for the artist at auction when Lily Safra[96] paid $20.viii million[97] only to donate information technology to the Israel Museum afterwards.[96] Months later on, a record $21.eight meg was paid at Christie'due south for the 1993 painting Abstraktes Bild 798-iii.[36] [98] Abstraktes Bild (809-4), one of the artist'southward abstract canvases from 1994, was sold by Eric Clapton at Sotheby's to a telephone bidder for $34.two million in late 2012. (Information technology had been estimated to bring $14.one million to $xviii.8 million.)[99]

This was exceeded in May 2013 when his 1968 slice Domplatz, Mailand (Cathedral square, Milan) was sold for $37.i million (£24.4 million) in New York.[100] This was further exceeded in February 2015 when his 1986 painting Abstraktes Bild (599) sold for $44.52 million (£thirty.4 meg) in London at Sotheby's Contemporary Evening Sale.[101] This was the highest cost at sale of a slice of gimmicky art at the time; Richter's record was broken on 12 November 2013 when Jeff Koons' Balloon Dog (Orangish), sold at Christie'southward Post-War and Gimmicky Art Evening Auction in New York City for U.s.a.$58.4 million.[102]

When asked about fine art prices like these, Richter said "It'southward just equally absurd as the banking crisis. It's impossible to understand and it's daft!"[103]

Film [edit]

External video
video icon Portraits, Paul Moorhouse, 2009, fifteen:46
video icon Gerhard Richter'due south Betty, 4:58 on YouTube, Smarthistory

In 2007, Corinna Belz [de] made a short film chosen Gerhard Richter's Window where the media-shy artist appeared on camera for the first time in 15 years. In 2011, Belz's feature-length documentary entitled Gerhard Richter Painting was released. The film focused almost entirely on the world's highest paid living artist producing his big-scale abstract squeegee works in his studio.[57] The 2018 drama motion picture Never Look Away is inspired past Richter's life story.[104]

In 2016 and 2019 Richter worked again with Corinna Belz on two films based on his 2012 book Patterns. The previous slice named Richters Patterns [105] when shown is partnered with music past the German composer Marcus Schmickler, the subsequently by the American composer Steve Reich, both performed by a alive ensemble. The subsequently work in turn is part of a larger two-section collaboration, Reich Richter Pärt which was commissioned for the inaugural season at The Shed in the Hudson Yards development in Manhattan in New York City.[106] [107]

Come across also [edit]

  • Wand (Wall)

References [edit]

  1. ^ a b "Early Years » Biography » Gerhard Richter". www.gerhard-richter.com . Retrieved 27 January 2019.
  2. ^ Elger 2009, p. 3.
  3. ^ Elger 2009, p. 4.
  4. ^ a b Elger 2009, pp. 4–5
  5. ^ Richter & Harten 1986, p. 9.
  6. ^ Elger 2009, p. half dozen.
  7. ^ a b Elger 2009, p. 10
  8. ^ Elger 2009, pp. xv–18.
  9. ^ Axel Griesch, "Müllkünstler HA Schult: Ich möchte Unsterblichkeit. Und die ist nicht käuflich" Archived 17 July 2012 at the Wayback Machine, finanzen.net, 13 May 2012.
  10. ^ Oliver Kornhoff and Barbara Nierhoff write about Götz: "1959-1979 professor at the Academy of Fine Arts Düsseldorf. His first students are Gotthard Graubner, HA Schult and Kuno Gonschior. Followed in 1961 by Gerhard Richter, Sigmar Polke and Franz Erhard Walther." ("1959-1979 Professur an der Kunstakademie Düsseldorf. Seine ersten Schüler sind Gotthard Graubner, H. A. Schult und Kuno Gonschior. 1961 folgen Gerhard Richter, Sigmar Polke und Franz Erhard Walther.") Meet Oliver Kornhoff and Barbara Nierhoff, Karl Otto Götz: In Erwartung blitzschneller Wunder, exh. true cat., Arp Museum, Remagen (Kerber Christof Verlag, 2010), p. 114.
  11. ^ compArt: Karl Otto Götz Archived 17 March 2012 at the Wayback Car.
  12. ^ Schudel, Matt (13 June 2010). "German artist Sigmar Polke, creator of 'Higher Beings Command,' dies at 69". The Washington Post. Archived from the original on 29 Nov 2014. Retrieved 17 November 2014. In the 1960s, Mr. Polke was at the vanguard of a German artistic movement called capitalist realism, along with young man painter Gerhard Richter – who later expressed reservations well-nigh his colleague's work, saying 'he refuses to take any borders, any limits.'
  13. ^ Grafik des kapitalistischen Realismus Archived xiii October 2012 at the Wayback Machine, KP Brehmer [de], Karl Horst Hödicke [de], Sigmar Polke, Gerhard Richter, Wolf Vostell, Druckgrafik bis 1971
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  39. ^ Richter & Obrist 1995, p. 153.
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  55. ^ Cotter, Holland (9 September 2010). "Edifice an Art of Virtuouso Ambiguity". The New York Times. Archived from the original on 13 Dec 2017.
  56. ^ Lossin, R.H. (October 2010). "Gerhard Richter: Lines which do not exist". The Brooklyn Rail. Archived from the original on fourteen March 2013.
  57. ^ a b c d e Crow, Kelly (16 March 2012). "The Tiptop-Selling Living Artist". The Wall Street Journal. Archived from the original on nine August 2017.
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  60. ^ Die Welt (20 September 2012), Gerhard Richter produziert seine Welt-Ausgabe
  61. ^ Decanter (21 Nov 2018), Mouton Rothschild 2015 label design revealed Archived 28 November 2017 at the Wayback Auto
  62. ^ Cologne Cathedral Gets New Stained-Glass Window Archived xix Feb 2011 at the Wayback Machine Der Spiegel, 27 August 2007
  63. ^ Fortini, Amanda (9 December 2007). "Pixelated Stained Glass". The New York Times. ISSN 0362-4331. Archived from the original on 13 June 2016. Retrieved 12 January 2008.
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Sources [edit]

  • Elger, Dietmar (2009). Gerhard Richter – A Life in Painting. Academy of Chicago Press. ISBN978-0-226-20323-two.
  • Richter, Gerhard; Harten, Jürgen (1986). Gerhard Richter: Bilder 1962–1985. Köln: DuMont.
  • Richter, Gerhard; Obrist, Hans Ulrich (1995). The Daily Practice of Painting: Writings and Interviews, 1962–1993. Cambridge, Massachusetts: MIT Printing.

Further reading [edit]

  • Götz Adriani: "Gerhard Richter: Paintings From Private Collections", Hatje Cantz, 2008. ISBN 978-3-7757-2137-0
  • Ulrich Bischoff/Elisabeth Hipp/Jeanne Anne Nugent: "From Caspar David Friedrich to Gerhard Richter": German language Paintings from Dresden. Getty Trust Publications, Jean Paul Getty Museum, Cologne 2006.
  • Hubertus Butin/Stefan Gronert: "Gerhard Richter. Editions 1965–2004". Catalogue raisonné, Ostfildern-Ruit (Hatje Cantz) 2003/2004. ISBN three-7757-1430-eight
  • Bruno Eble, Gerhard Richter : la surface du regard, L'Harmattan, 2006 ISBN 978-2-296-01527-ii (in French)
  • Dietmar Elger: "Gerhard Richter, Landscapes", Ostfildern-Ruit (Hatje Cantz) 2002. ISBN iii-7757-9101-9
  • Eckhart Gillen: "Gerhard Richter: Mr. Heyde or the murders are amid u.s.a.". The battle with the trauma of the displaced history of Western Germany. In: Eckhart Gillen: Problems in searching for the truth (...), Berlin 2002, p. 186–191. (in German language)
  • Jürgen Harten (ed.): "Gerhard Richter. Paintings 1962–1985". With a catalogue raisonné from Dietmar Elger 1962–1985, Cologne 1986. (in German)
  • Ernst Hohenthal: "A family unit hugger-mugger in the public domain". New revelations almost Gerhard Richter's Herr Heyde, in: Christies's Mag, November 2006, New York and London 2006, ISSN 0266-1217 Vol. XXIII. No. 5, pp. 62ff.
  • Andrew McNamara: "Optative Death: Gerhard Richter in the Wake of the Vanguard" in Elizabeth Klaver (ed.), Images of the Corpse: From the Renaissance to Cyberspace (The University of Wisconsin Press) 2004. ISBN 0-299-19790-5
  • Jeanne Anne Nugent: "Family Album and Shadow Archive": Gerhard Richter'south East, Westward, and all German language Painting, 1949–1966. Dissertation in the History of Art presented to the Faculties of the University of Pennsylvania, Philadelphia 2005.
  • Gerhard Richter: "The Condition of History" in: Charles Harrison & Paul Wood (eds.), "Fine art in Theory 1900–1990". An Album of Irresolute Ideas, Malden/Mass. (Blackwell Publishers Ltd.), 1999.
  • Obrist, Hans Ulrich: "Gerhard Richter: 100 Pictures", Hatje Cantz Publishers, 2002. ISBN 978-3-7757-9100-7
  • Obrist, Hans Ulrich: "Gerhard Richter. 100 paintings", Ostfildern-Ruit (Hatje Cantz) 2005. ISBN 3-89322-851-ix (in German)
  • Obrist, Hans Ulrich: "Gerhard Richter: 4900 Colours", Hatje Cantz, 2009. ISBN 978-3-7757-2344-2
  • Obrist, Hans Ulrich; Elger Dietmar: "Gerhard Richter: Writings", Distributed Art Publishers, 2009. ISBN 978-1-933045-94-8
  • Jürgen Schilling: "Gerhard Richter. A individual collection", Duesseldorf 2004. ISBN 3-937572-00-7 (in German)
  • Schreiber, Jürgen (2005). Ein Maler aus Deutschland [A painter from Germany] (in High german). Munich and Zürich: Pendo. ISBN3-86612-058-3.
  • Robert Storr: "Gerhard Richter, Painting", Ostfildern-Ruit (Hatje Cantz) 2002. ISBN 3-7757-1169-4 (in High german)
  • Storr, Robert: "Gerhard Richter: Forty Years of Painting", Museum of Modern Art, New York, 2002. ISBN 978-1-891024-37-5
  • Angelika Thill: "Catalogue raisonné since 1962" in: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH (ed.): "Gerhard Richter", Ostfildern-Ruit 1993. Thill offers the now accustomed catalogue raisonné betwixt 1963 and 1993. (in High german)
  • Franz J. Giessibl: "Start View Inside an Atom. Encounters with Gerhard Richter between Art and Scientific discipline" Walther and Franz König Verlag, Cologne, 2022. ISBN 978-3-7533-0188-4

External links [edit]

galanthippid.blogspot.com

Source: https://en.wikipedia.org/wiki/Gerhard_Richter

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