Suzanne Pagé, Wenzel Jacob, Björn Springfield, Kasper König and Benjamin Buchloh著,〈格哈特.里希特:作品編年集 1962-1993年,第3集〉,柏林,1993年,第142、196頁,編號789/1-115(圖版,第142頁) Hubertus Butin、Stefan Gronert及Thomas Olbricht著,〈格哈特.里希特:1965-2013年版畫作品編年集〉,柏林,2014年,第43、252頁(圖版) Stefan Gronert及Hubertus Butin著,〈格哈特.里希特:1965-2004年作品編年集〉,柏林,2004年,第35-36,編號81、229頁(圖版) Dietmar Elger著,〈格哈特.里希特:作品編年集,第4集:編號 652-1 - 805-6(1988-1994年)〉,柏林,2015年,編號789/1-115,第524-525頁(圖版,第525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.