147
Gerhard Richter
Two works: (i) Ifrit; (ii) Aladin
- Estimate
- $5,000 - 7,000
Lot Details
Diasec-mounted chromogenic print on aluminum
(i) numbered "268/500" on the reverse
(ii) numbered "255/500" on the reverse
(ii) numbered "255/500" on the reverse
(i) 12 7/8 x 17 3/8 in. (32.7 x 44.1 cm)
(ii) 14 1/2 x 19 5/8 in. (36.8 x 49.8 cm)
(ii) 14 1/2 x 19 5/8 in. (36.8 x 49.8 cm)
(i) Executed in 2014, this facsimile object is number 268 from an edition of 500 plus 2 artist's proofs.
(ii) Executed in 2014, this facsimile object is number 255 from an edition of 500 plus 2 artist's proofs.
(ii) Executed in 2014, this facsimile object is number 255 from an edition of 500 plus 2 artist's proofs.
Specialist
Full-Cataloguing
Provenance
Literature
Gerhard Richter
German | 1932Powerhouse painter Gerhard Richter has been a key player in defining the formal and ideological agenda for painting in contemporary art. His instantaneously recognizable canvases literally and figuratively blur the lines of representation and abstraction. Uninterested in classification, Richter skates between unorthodoxy and realism, much to the delight of institutions and the market alike. Richter's color palette of potent hues is all substance and "no style," in the artist's own words. From career start in 1962, Richter developed both his photorealist and abstracted languages side-by-side, producing voraciously and evolving his artistic style in short intervals. Richter's illusory paintings find themselves on the walls of the world's most revered museums—for instance, London’s Tate Modern displays the Cage (1) – (6), 2006 paintings that were named after experimental composer John Cage and that inspired the balletic 'Rambert Event' hosted by Phillips Berkeley Square in 2016.
Browse Artist