i Massimo Carboni 著,《格哈特‧里希特:羅馬 Zerynthia 當代藝術協會》,《Artforum》,第31集,第7號,1993年3月,載自網絡 ii 格哈特‧里希特,引述自Robert Storr,‘格哈特‧里希特訪談’,《格哈特‧里希特:繪畫四十年》,紐約,2003年,第304頁 iii 格哈特‧里希特,引述自格哈特‧里希特, Elgar Dietmar, 漢斯·烏爾里希·奧布里斯特,《格哈特‧里希特–文選:寫作、訪談與信件1961-2007年》,倫敦,2009年,第256頁
來源
羅馬,Mario Pieroni 畫廊(直接購自藝術家) 德國私人收藏 桑腾,Schönewald Fine Arts 畫廊 舊金山,Anthony Meier Fine Arts 畫廊 布魯塞爾私人收藏 現藏者購自上述來源
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.