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  • Provenance

    Galerie Fred Jahn, Munich

  • Exhibited

    Neues Museum Weserburg Bremen, Ohne Zögern- Without Hesitation , June 3 – September 16, 2006, n.p. (another example exhibited; illustrated)

  • Literature

    Kunsthalle Bremen, ed., Gerhard Richter: Editionen 1965-1993, Bremen, 1993, no. 68, pp. 164-165 (illustrated)
    W. Schoppmann and Neues Museum Weserburg Bremen, eds., Ohne Zögern- Without Hesitation , Germany, 2001, n.p. (illustrated)

  • Catalogue Essay

    “In the photograph, I take even more focus out of the painted image, which is already a bit out of focus, and make the picture even smoother. I also subtract the materiality, the surface of the painting, and it becomes something different.” (G. Richter, from H. Butin: “Gerhard Richter and the Reflection on Images,” Gerhard Richter Editions 1965-2004, Catalog Raisonne, Germany, 2004, pp 55, 59)

    Ema (Nude on a Staircase) can be considered as a “…telescoped sequence of simulacra, an inviting reality triply removed.”(Robert Storr, Gerhard Richter: Forty Years of Painting, New York, 2002). The lot at hand is a photograph of a painting of a photograph, an imagistic cull de sac: the potential exists for reading a somewhat sterilizing level self-convolution. Gerhard’s focus however, as opposed to pointing referentially back at the work’s source material, is on the visual image. “The photograph in this case looks softer, less sharply focused and thus more painterly. Its brightness is livelier, and its surface lends it a more pronounced object character.” (S. Gronert, Pictorial (Re)Production, On the Role of Photography in the Art of Gerhard Richter, ibid, p 96). The lush, pulsating depths of the lot at hand exude an uncanny tenderness--bordering on intimacy--for a work so far removed, both physically and intellectually, from the artist’s hand.

  • Artist Biography

    Gerhard Richter

    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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Ema (nude descending a staircase)

Cibachrome mounted on Alucobond.
75 7/8 x 49 1/2 in. (192.7 x 125.7 cm).
Signed, numbered of twelve and dated “Richter, 92” on the reverse. This work is from an edition of twelve plus one artist’s proof.

$200,000 - 300,000 

Sold for $374,400

Contemporary Art Part I

16 Nov 2006, 7pm
New York