i 彼得·施傑達爾,《格哈特‧里希特的黑暗真相》,《紐約客》,2020年3月16日,載自網路。 ii 胡伯圖斯·布廷、斯蒂芬·格鲁勒及托馬斯·奥爾布里希特編輯,《格哈特‧里希特:版畫1965-2013:作品全集》,奧斯特菲爾德爾恩,2014年,第44頁。 iii 格哈特‧里希特引述於格哈特‧里希特和Sabine Schütz,《格哈特‧里希特(採訪)》,《當代藝術期刊》,紐約,1990年秋冬,第35頁,載自特馬爾‧埃爾加,《作品全集,第4卷:1988-1994》,奧斯特菲爾德爾恩,2015年,第22頁。
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.