Marian Goodman, New York
Private Collection
Winterthur, Kunstmuseum, Gerhard Richter: Zeichnungen und Aquarelle, 4 September - 21 November, 1999, then travelled to Dresden, Kupferstich-Kabinett (15 January 2000 – 19 March 2000), Krefeld, Kaiser Wilhelm Museum (9 April 2000 – 18 June 2000), Tilburg, Collection De Pont museum (1 July 2000 – 8 October 2000)
G. Tosatto, J-P. Criqui, J. Storsve, Richter en France , Paris: Actes Sud, Arles, pp. 33, 36, 54, 56 (mentioned)
D. Schwarz, B. Pelzer, Gerhard Richter: Drawings 1964-1999, Catalogue Raisonné, Düsseldorf: Richter Verlag, p. 319 (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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