Galerie Fred Jahn, Munich
Private Collection
Hauser & Wirth, Zurich
Private Collection
Phillips, New York, 15 May 2015, lot 239
Acquired at the above sale by the present owner
Kunsthalle Bielefeld; Mannheimer Kunstverein, Gerhard Richter: Abstract Paintings 1976 to 1981, 10 January – 16 May, 1982
J. Harten et al, Gerhard Richter Bilder / Paintings 1962 - 1985, Düsseldorf, 1986, pp. 391, 392; p. 229 (illustrated)
Gerhard Richter: Paintings, exh. cat., Marian Goodman Gallery/Sperone Westwater, New York, 1987, p. 6
Kunst-und Ausstellungshalle der Bundesrepublik Deutschland ed., Gerhard Richter, Werkübersicht/ Catalogue Raisonné 1962 - 1993 vol. III, Ostfildern-Ruit, 1993, no. 454-4, n.p. (illustrated)
Dietmar Elger, Gerhard Richter Catalogue Raisonné Nos. 389-651-2 Volume 3 1976-1987, Ostfildern, 2013, p. 172 (illustrated)
German • 1932
Powerhouse 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.
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