15 min. Abstract Malen-4 Farben/für Anfänger/Abstract Painting-4 Acrylics for Beginners /V165
Richter has produced abstract as well as photorealistic paintings, and also photographs and glass pieces. He is widely regarded as one of the most important abstrakte Kerze vitaprost German artists and several of his works have set record prices at auction.
Gerhard's mother, Hildegard Schönfelder, gave birth to him at the age of Hildegard's father, Ernst Alfred Schönfelder, at one time was considered a gifted pianist.
Ernst moved the family to Dresden after taking up the family enterprise of brewing and eventually went bankrupt. Once in Dresden, Hildegard trained as a bookseller, and in doing so realized a passion for literature and music. Gerhard's father, Horst Richter, was a mathematics and physics student at the Technische Hochschule in Dresden.
The two were married in After struggling to maintain a position in the new Nationalist Socialist education system, Horst found a position in Reichenau.
Gerhard's younger sister, Gisela, abstrakte Kerze vitaprost born there in Horst and Hildegard were able to remain primarily apolitical due to Reichenau's location in the countryside. He never became an avid supporter of Nazism, and was not required to attend party rallies. Richter left school after 10th grade and apprenticed as an advertising and stage-set painter, before studying at the Dresden Academy of Fine Arts.
Inhe finished vocational high school in Zittauand, between andsuccessively worked as abstrakte Kerze vitaprost apprentice with a sign painter abstrakte Kerze vitaprost as a painter. Richter married Marianne Eufinger in ; she gave birth to his first daughter. He married his second wife, the sculptor Isa Genzkenin Richter had two sons and a daughter with his third wife, Sabine Moritz after they were married in In the early days of abstrakte Kerze vitaprost career, he prepared a wall painting Communion with Picassofor the refectory of his Academy of Arts as part of his B.
Another mural abstrakte Kerze vitaprost Lebensfreude Joy of life followed at the German Hygiene Museum for his diploma. It was intended to produce an effect "similar to that of wallpaper or abstrakte Kerze vitaprost. From to Richter worked as a master trainee in the academy and took commissions for the then state of East Germany. During this time, he worked intensively on murals like Arbeiterkampf Workers' struggleon oil paintings e.
Both his wall paintings in the Academy of Arts and the Hygiene Museum were then painted over for ideological reasons. Much later, after German reunificationtwo "windows" of the wall painting Joy of life would be uncovered in the stairway of the German Hygiene Museum, but these were later covered over when it was decided to restore the Museum to its original state.
This title also referred to the realist style of art known as Socialist Realismabstrakte Kerze vitaprost the official art doctrine of the Soviet Union, but it also commented upon the consumer-driven art doctrine of western capitalism.
Richter taught at the Hochschule für bildende Künste Hamburg and the Nova Scotia College of Art and Design as a visiting professor; he returned to the Kunstakademie Düsseldorf inwhere he worked as a professor for over 15 years. InRichter resettled from Düsseldorf to Cologne, where he still lives and works today. Nearly all of Richter's work demonstrates both illusionistic space that seems natural and the physical activity and material of painting—as mutual interferences. For Richter, reality is abstrakte Kerze vitaprost combination of new attempts to understand—to represent ; in his case, to paint —the world surrounding us.
Richter's opinions and perspectives on his own art, and that of the larger art market abstrakte Kerze vitaprost various artistic movements, are compiled in abstrakte Kerze vitaprost chronological record of "Writings" and interviews. The following quotes are excerpts from the compilation: . Richter created various painting pictures from black-and-white photographs during the s and early s, basing them on a variety of sources: newspapers and books, sometimes incorporating their captions, as in Helga Matura ; private snapshots; aerial views of towns and mountains, Cityscape Madrid and Alps ; seascapes —70 ; and a large multipart work made for the German Pavilion in the Venice Biennale.
For Forty-eight Portraits —72he chose mainly the faces of composers such as Gustav Abstrakte Kerze vitaprost and Jean Sibeliusand of writers such as H. Wells and Franz Kafka. From his "Writings", the following refer to quotations regarding photography, its relationship with painting, and the "blur":. Many of these paintings are made in a multi-step process of representations. He starts with abstrakte Kerze vitaprost photographwhich he has found or taken himself, and projects it onto his canvaswhere abstrakte Kerze vitaprost traces it for exact form.
Taking his color palette from the photograph, he paints to replicate the look of the original picture. His hallmark "blur" is achieved sometimes with a light touch of a soft brush, sometimes a hard smear by an aggressive pull with a squeegee. From aroundRichter made a number of portraits of dealers, collectors, artists and others connected with his immediate professional circle. Richter's two portraits of Bettyhis daughter, were made in and respectively; the three portraits titled IG were made in and depict the artist's second wife, Isa Genzken.
Lesende portrays Sabine Moritzwhom Richter married inshown absorbed in the pages of a magazine. Richter began making prints in He was most active beforeonly completing sporadic projects since that time. In the period —, Richter made most of his prints more thanof the same or similar subjects in his paintings.
While elements of landscape painting appeared initially in Richter's work early on in his career inthe artist began his independent series of landscapes in after his first vacation, an excursion that landed him besotted with the terrain of Corsica. They are compared to the work of Caspar David Friedrich — Friedrich is foundational to German landscape painting. Each artist spent formative years of their lives in Dresden. Atlas was first exhibited in at the Museum voor Hedendaagse Kunst in Utrecht under the title Atlas der Fotos und Skizzenit included parts.
Abstrakte Kerze vitaprost work has continued to expand, and was exhibited later in abstrakte Kerze vitaprost form at the Lenbachhaus in Munich inabstrakte Kerze vitaprost Museum Ludwig in Cologne inand at Dia Art Foundation in New York in Atlas continues as an ongoing, encyclopedic work composed of approximately 4, photographs, reproductions or cut-out details of photographs and illustrations, grouped abstrakte Kerze vitaprost on approximately separate panels.
InRichter embarked on a ten-day trip to Greenlandhis friend Hanne Darboven was meant to accompany him, but instead he traveled alone. His intention was to experience and record the desolate abstrakte Kerze vitaprost landscape.
Infour large paintings, each titled Seascape emerged from the Greenland photographs. In andAbstrakte Kerze vitaprost made a series of paintings of Candles and Skulls that relate to a longstanding tradition of still life memento mori painting.
Abstrakte Kerze vitaprost composition is most commonly based on a photograph taken by Richter in his own studio. The Candle paintings coincided abstrakte Kerze vitaprost his first large-scale abstract paintings, and represent the complete antithesis to those vast, colorful and abstrakte Kerze vitaprost meaningless works.
Richter has made only 27 of these still lifes. His solitary candle was reproduced on a monumental scale and placed overlooking the River Elbe as a symbol of rejuvenation.
In a series of 15 ambiguous photo paintings entitled 18 Octoberhe depicted four members of the Red Army Faction RAFa German left-wing militant organization. These paintings were created from black-and-white newspaper and police photos.
Three RAF members were found dead in their prison cells on 18 October and the cause of their deaths was the focus of widespread controversy. The abstrakte Kerze vitaprost were based on an official portrait of Ulrike Meinhof abstrakte Kerze vitaprost her years as a radical journalist; on photographs of the arrest of Holger Meins ; on police shots of Gudrun Ensslin in prison; on Andreas Baader 's bookshelves and the record player to conceal his gun; on the dead figures of Meinhof, Ensslin, and Baader; and on the funeral of Ensslin, Baader, and Jan-Carl Raspe.
SinceRichter has worked on creating new images by abstrakte Kerze vitaprost wet paint over photographs. The photographs, not all taken by Richter himself, are mostly snapshots of daily life: family vacations, pictures of friends, mountains, buildings and streetscapes. A few years later, he made one small painting specifically about the planes crashing into the World Trade Center.
In the s, Richter made a number of works that dealt with scientific phenomena. Inhe produced several paintings with the same title: Silicate. Large oil-on-canvas pieces, these show latticed rows of light- and dark-grey blobs whose shapes quasi-repeat as they race across the frame, their angle modulating from painting to painting. They depict a photo, abstrakte Kerze vitaprost in the Frankfurter Allgemeine Zeitungof a computer-generated simulacrum of reflections from the silicon dioxide found in insects' shells.
Coming full-circle from his early Table in which he cancelled his photorealist image with haptic swirls of grey paint,  inRichter produced the first of a group of grey monochromes that consist exclusively of the textures resulting from different abstrakte Kerze vitaprost of paint application. InRichter first abstrakte Kerze vitaprost the title Abstract Painting to one of his works. By presenting a painting without even a few words to name and explain it, he felt he was "letting a thing come, rather than creating it.
Throughout his process, Richter uses the same abstrakte Kerze vitaprost he uses in his representational paintings, blurring and scraping to veil and expose prior layers. From the mids, Richter began to use a homemade squeegee to rub and scrape the paint that he had applied in large bands across his canvases. The following are Richter's answers:.
The Abstrakte Kerze vitaprost Pictures were done at a time when there were monochrome paintings everywhere. I painted them nonetheless. In the s the artist began to run his squeegee up and down the canvas in an ordered fashion to produce vertical columns that take on the look of a wall of planks. Richter's abstract work and its illusion of space developed out of his incidental process: an accumulation abstrakte Kerze vitaprost spontaneous, reactive gestures of adding, moving, and subtracting paint.
Despite unnatural palettes, spaceless sheets of color, and obvious trails of the artist's tools, the abstract pictures often act like windows through which we see the landscape outside. As in his representational paintings, there is an equalization of illusion and paint. In those paintings, he reduces worldly images to mere incidents of Art. Similarly, in his abstract pictures, Richter exalts spontaneous, intuitive mark-making to a level abstrakte Kerze vitaprost spatial logic and believability.
Firenze continues a cycle of 99 works conceived in the autumn of and executed in the same abstrakte Kerze vitaprost and thereafter. The series of overpainted abstrakte Kerze vitaprost, or übermalte Photographien, consists of small paintings bearing images of the city of Florence, created by the artist as a tribute to the music of Steve Reich and the work of Contempoartensemble, a Florence-based group of musicians.
AfterRichter abstrakte Kerze vitaprost a number of works that dealt with scientific phenomena, in particular, with aspects of reality that cannot be seen by the naked eye.
This work was published in as a book entitled War Cut. In NovemberRichter began a series in which he applied ink droplets to wet paper, using alcohol and lacquer to extend and retard the ink's natural tendency to bloom and creep.
The resulting November sheets are regarded as a significant departure from his previous watercolours in that the pervasive soaking abstrakte Kerze vitaprost ink into wet paper produced double-sided works. Sometimes the uppermost sheets bled into others, generating a sequentially developing series of images. As early asRichter had made paintings based on colour charts, using the rectangles of colour as found objects in an apparently limitless variety of hue; these culminated in —4 in a series of large-format pictures such as Colours.
When he began to make these paintings, Richter had his friend Blinky Palermo randomly call out colors, which Richter then adopted for his work. Chance thus plays its role in the creation of his first series. Returning to color charts in the s, Richter changed his focus from the readymade to the conceptual system, developing mathematical procedures for mixing colours and chance operations for abstrakte Kerze vitaprost placement. Each abstrakte Kerze vitaprost was then randomly ordered to create the resultant composition and form of abstrakte Kerze vitaprost painting.
Richter's second series of Color Charts was begun in and consisted of abstrakte Kerze vitaprost five paintings.
In the final series of Color Charts which preoccupied Richter throughout andadditional elements to this permutational system of color production were added in the form of mixes of a light grey, a dark gray and later, a green.