拿玻里 Lia Rumma 畫廊
現藏者購自上述來源
Munich, Städtische Galerie im Lenbachhaus, Gerhard Richter, 23 May - 1 July 1973 (erroneously numbered cat no. 340)
Amsterdam, Galerie Seriaal, Gerhard Richter. Rot - Blau - Gelb, GR 338, 8 -27 September 1973
Jürgen Harten and Dietmar Elger, eds., Gerhard Richter. Bilder/Paintings 1962-1985, exh. cat. and cat. rais., Städtische Kunsthalle Düsseldorf, 1986, pp. 163, 382 (illustrated, p. 163)
Hubertus Butin, Gerhard Richter. Editionen 1965-1993, catalogue raisonné, Kunsthalle Bremen, 1993, cat. no. 41, p. 123 (illustrated, p. 123 (one canvas))
Gerhard Richter Catalogue raisonné 1962 - 1993, vol III, exh cat., Musée d'Art Moderne de la Ville de Paris; Boon, Kunst-und Ausstellungshalle der Bundesrepublik Deutschland; Stocklholm, Moderna Museet; Madrid, Museo Nacional Centro de Arte Reina Sofía, 1993 - 1994, no. 338-1, p. 164 (illustrated n.p.)
Hubertus Butin, Stefan Gronert and the Dallas Museum of Art, eds., Gerhard Richter: Editions 1965 - 2004. Catalogue Raisonné, Ostfildern, 2004, no. 50, pp. 34, 190 (illustrated, p. 34 (one canvas))
Hubertus Butin, Stefan Gronert and Thomas Olbricht, Gerhard Richter. Editions 1965 - 2013, Ostfildern, 2014, p. 214 (another variant illustrated)
Dietmar Elger, Gerhard Richter. Catalogue Raisonné 1968 - 1976, vol. 2 (nos. 198 – 388), Berlin, 2017, no. 338/1-100, p. 508 (illustrated, p. 509)
Hubertus Butin: Gerhard Richter. Unikate in Serie / Unique Pieces in Series, Cologne 2017, pp. 104, 116, color ill. pp. 106/107 (two canvases)
Gerhard Richter – Die Editionen, exh. cat.,, Museum Folkwang, Essen, 2017, p. 26 (illustrated, p. 41 (one canvas))
Armin Zweite, Gerhard Richter. Leben und Werk. Das Denken ist beim Malen das Malen, Munich 2019, pp. 106, 361
Berlin, me Collectors Room / Stiftung Olbricht, Die Olbricht Collection und Gerhard Richter, in: Moving Energies – 10 years me Collectors Room Berlin, exh. cat., 2020, p. 130
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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