Parkett Verlag, Zurich
Private Collection
Phillips, New York, 16 November 2012, lot 180
Acquired at the above sale by the present owner
Parkett, no. 35, 1993, p. 97 (illustrated)
B. Buchloh ed., Gerhard Richter: Werkübersicht/Catalogue Raisonné 1962-1993, vol. III, Ostfildern, 1993, no. 789/1-115 (two other examples illustrated)
H. Butin, ed., Gerhard Richter. Editionen 1965-1993 Catalogue Raisonné, Bremen, 1993, cat. no. 69, p. 166-167 (another example illustrated)
H. Butin and S. Gronert, eds., Gerhard Richter. Editionen 1965-2004. Catalogue Raisonné, Ostfildern, cat. no. 81, p. 81 (another example illustrated)
Hubertus Butin, Stefan Gronert, and Thomas Olbricht (eds.), Gerhard Richter. Editionen 1965-2013 (catalogue raisonné), Ostfildern, 2014, cat. no. 81, pp. 43, 252 (another example illustrated)
Dietmar Elger, Gerhard Richter. Catalogue Raisonné 1988-1994, vol. 4 (nos. 652-1 – 805-6), Ostfildern, 2015, cat. no. 789/1-115, pp. 524-525 (another example 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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