Gerhard Richter is a German painter who originally trained in a realist style and later developed an appreciation for the more progressive work of his American and European contemporaries. Richter increasingly employed his own painting as a means for exploring how images that appear to capture “truth” often prove, on extended viewing, far less objective, or unsure in meaning, than originally assumed. The other common themes in his work are the elements of chance, and the play between realism and abstraction. Working alongside but never fully embracing a quick succession of late twentieth century art movements, such as Abstract Expressionism, American/British Pop art, Minimalism, andConceptualism, Richter has absorbed many of their ideas while remaining skeptical of all grand artistic and philosophical credos. Richter has maintained a lifelong fascination for the power of images and painting’s long, uneasy relationship with photography: while either medium may claim to reflect or express reality truthfully, either ultimately suggests only a partial, or incomplete view of a subject. Richter borrows much of his painted imagery from newspapers, or even his own family albums. Often he begins by mechanically projecting such an image onto the canvas, a technique for thinking about how images often seem to have a life of their own, like mysterious ghosts haunting our psyche. This act of visual compression, in which photography, projection, and painting merge to make a finished art work, suggests that all vision is a kind of conversion of the “real” into the “imaginary.” Richter would often blur his subjects and embrace chance effects in his own painting process in order to show the impossibility of any artist conveying the full truth of a subject in its original condition. Such means for suggesting that something essential to the model has been “lost in translation” often leads a viewer’s attention to the oil pigment’s dense, material nature, thereby demonstrating both its expressive strengths and shortcomings. In Richter’s completely abstract canvases, personal emotion and all traces of the painter’s autobiography seem missing. The painting’s many layers, strokes, and scrapes of color may thus appear as “beautiful” as anything found in nature that came into existence partly according to a predetermined structure (such as DNA), as well as by way of unpredictable occasions of pure chance and the action of outside forces.
Watercolour, pencil on paper
Aquarelle, crayon sur papier
6 5/8 by 19 1/4 in – 17 x 23.5 cm
Oil on paper
Huile sur papier
22 3/4 x 22 3/4 in – 58 x 58 cm