“We aren’t capable of viewing paintings without searching for their inherent similarity to what we’ve experienced and what we know. We want to see what they offer us, whether they threaten us or whether they’re nice to us, or whatever it might be.”
—Gerhard Richter
來源
柏林私人收藏 杜塞爾多夫Ludorff畫廊 現藏者購自上述來源
過往展覽
Dusseldorf, Galerie Ludorff, Wege der Abstraktion, September 15–November 15, 2007 Dusseldorf, Galerie Ludorff, Gerhard Richter: Abstrakte Bilder, April 25–August 31, 2013, pp. 52–53 (illustrated)
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.
