紐約 Marian Goodman 畫廊
現藏者於2002年3月購自上述來源
New York, Marian Goodman Gallery, Gerhard Richter: Paintings 1996–2001, September 14–October 27 2001, no. 50, n.p. (illustrated; erroneously catalogued as oil on aluminum panel)
Gerhard Richter: Catalogue Raisonné 1993–2004, Dusseldorf, 2005, no. 872-6, pp. 291, 317 (illustrated, p. 291)
Dietmar Elger, ed., Gerhard Richter: Catalogue Raisonné 1994–2006, vol. 5 (Nos. 806–899-8), Berlin, 2019, no. 872-6, p. 401 (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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