Gerhard Richter

For more information on Gerhard Richter, visit Britannica.com.

(b Dresden, 9 Feb 1932). German painter. He studied painting from 1951 to 1956 at the Kunstakademie in Dresden and continued living there until he moved to West Germany in 1961 to resume his studies at the Kunstakademie in D?sseldorf until 1963. There he was taught by the painter Karl Otto G?tz (b 1914), a leading German representative of Art Informel; he was especially close to two fellow students, Sigmar Polke and Konrad Lueg (b. 1939), the latter of whom was to change his surname to Fischer and become an influential dealer in contemporary art. In the early 1960s Richter was exposed to both American and British Pop art, which was just becoming known in Europe, and to the Fluxus movement. In response to these trends, he and Lueg organized a Demonstration in Support of Capitalist Realism as a one-day event in a department store, Berges, in D?sseldorf on 11 October 1963, displaying furniture on pedestals as works of art and placing themselves in the room also as exhibits.

See the Abbreviations for further details.

German artist Gerhard Richter (born 1932) is considered one of the most significant and challenging artists of the last quarter-century. His diverse paintings cover a range of artistic genres, from Realism and Naturalism to Impressionism, Pop Art, Conceptualism, and Post-Abstract Expressionism. Richter of ten painted from photographs, either clipped from newspapers and various other sources or shot by the artist himself, and worked mainly in groups of paintings numbered sequentially.

In Richter's portrayals, one always senses a sense of faith coupled with cruelty. For instance, nature to Richter is at once sublime but indifferent to the human condition, and popular culture transforms people who would otherwise think as individuals into submissive followers. His works furthermore contain a darkness and reveal a mistrust of any sort of dogma. However, faith and beauty remain underlying elements. Indeed, Richter sees art as the highest form of hope. "I constantly despair at my own incapacity, at the impossibility of ever accomplishing anything, of painting a valid, true picture or of even knowing what such a thing ought to look like," Richter once wrote, as quoted in the New York Times. "But then I always have the hope that, if I persevere, it might one day happen."

Childhood Experiences

Born in Dresden, Germany, on February 9, 1932, and raised in the outlying villages of Reichenau and Waltersdorf, Richter grew during a tumultuous and horrific period in world history, coming of age just after World War II. Undoubtedly, Richter's early experiences - including the teachings and beliefs of his parents and living his first 13 years under the Nazis - impacted his development both artistically and intellectually, leading him to later depict subjects as varied as a Nazi uncle, fighter planes, religion, landscapes, gangs of young German terrorists, and his own wife and child.

By comparison, Richter's parents seemed ill-matched for one another. His father, a conventional-minded schoolteacher, embraced Nazism and fought for the regime on the Eastern and Western fronts. He died, as did Richter's uncles, during the war. Richter also had a mentally disabled aunt who perished in a Nazi euthanasia program. Richter's mother, in contrast, was raised in a cultured and at one time wealthy family. The daughter of a talented pianist and bookseller, she exposed Richter to literature, philosophy, and music, and encouraged his interest in painting and drawing.

Following the collapse of the Third Reich, Richter lived for another 16 years under the oppressive hand of East Germany. But he would later recall that by the age of 17, "my fundamental aversion to all beliefs and ideologies was fully developed," as quoted by Jay Tolson for U.S. News and World Report. Richter left grammar school at 15 years of age, taking a series of temporary jobs like assisting a local photographer, decorating banners for the East German communist regime, and painting sets for a theater located in the small town of Zittau.

School of Socialist Realism

Intent on studying art more formally, Richter, in 1952, after failing to gain acceptance on the first try, won admittance into the Hochscule für Bildende Kunste in Dresden. At the art academy, where he trained until 1957, Richter gained a thorough knowledge of the masters and studied extensively with Heinz Lothmar, a former Surrealist and supporter of communism who headed the mural painting department. Ironically, this department allowed students the greatest degree of freedom of self-expression, due largely to the fact that the strict enforcers of the state-sanctioned Socialist Realist aesthetic considered the painting of murals as merely "decorative."

Upon graduation, Richter obtained work painting murals. His first official commission, a mural of bathers for the German Hygeine Museum, was executed in the approved bombastic style. Soon thereafter, Richter was attracting recognition as well as a steady income, allowing him the opportunity to travel outside East Germany.

Confronted by Western Art

On one excursion to the West in 1959, Richter received permission to visit Documenta 2 in Kassel, West Germany, discovering for the first time Abstract painting. Today, the Documenta exhibition takes place every five years and has evolved into a major site for experiencing contemporary art on the worldwide circuit. But at the event's inception in 1955, the exhibition held an immense political and cultural significance for art in Germany. By surveying international modern and contemporary art, the sponsors of Documenta hoped to fill the void in German cultural history that had occurred during the 12-year period of domination by the Nazis, who had stigmatized modern art as degenerate. Consequently Germany, through Documenta, intended to reaccept into the culture what it had in the past sought to destroy.

Attending Documenta was a turning point in Richter's career, and he began to feel an internal pressure to engage in the dialogues of modern art. Many of the artists represented at the event were completely unknown to Richter at the time. Lucio Fontana and Jackson Pollock, among others, impressed him most of all. Thus, in 1961, shortly before the erection of the Berlin Wall, Richter fled Dresden for West Berlin.

A Second Education

Upon the advice of a friend who had already made the move to West Germany, Richter promptly enrolled in art school in Düsseldorf at the Staatliche Kunstakademie. In many ways, Richter, before graduating in 1964, unlearned everything he had been taught at the conservative school in Dresden. At Düsseldorf, he studied with Art Informel or gesture painter Karl Otto Gotz and also worked for a brief period in an aggressive style influenced by Alberto Burri, Jean Dubuffet, Jean Fautrier, and Fontana. The same year Richter entered the school, Joseph Beuys, who would become the most famous artist of the post-war era, was named professor of monumental sculpture. Richter kept his distance from Beuys throughout his years as a student. But the two became faculty colleagues when the Richter himself was appointed professor at the academy in 1971.

At school, Richter also met German trendsetters Sigmar Polke and Blinky Palermo (also refugees from the East), as well as Konrad Lueg (who later changed his name to Konrad Fischer). Along with Lueg and Polke, Richter developed an interest in the burgeoning Pop Art scene. They particularly enjoyed the work of Andy Warhol, Roy Lechtenstein, and Claes Oldenburg. Another area of intrigue for Richter and his friends was the group Fluxus, an international art movement influenced by Marcel Duchamp and John Cage, which held "events" that could either resemble to chaotic Pop Art "happenings" or remain quite simple and subdued.

Photorealism

In 1963, Lueg and Richter traveled to Paris, introducing themselves to art dealer/gallery owner Iileana Sonnabend as German Pop artists because they did not view the movement as strictly an American or British domain. Returning home unsuccessful yet undeterred, they mounted one year later two exhibitions/demonstrations of their own work. These events provided the first occasions for Richter to show his photo-based paintings. One of his earliest works is the modest 1962 painting "Table." A depiction of an ordinary, institutional-style metal table, the canvas is split horizontally with a dark gray floor beneath a lighter gray wall. On the painting's surface is an aggressive brush of gray paint in looping arcs, forcing the viewer to look through the scribbles to see the room.

Richter continued for the next several years to concentrate on the blurred but precise photographic style that became his trademark. Unlike other artists who employ photographs only as a reference aid, Richter uses photographs - either found or taken by the painter himself - as if they were reality. And although he cares about what the images are of, he often chooses a subject that he has no independent experience of, such as, for example, a clipping from a newspaper. In transferring the subjects, Richter first traces meticulously onto canvas the details of the photographic image, then introduces any number of distortions. In effect, when looking at a photorealist painting by Richter, one is simultaneously seeing but not seeing.

Uncovering a new way of looking at the relationship between photographs and painting was an exciting moment for Richter. "I was surprised by photography, which we all use so massively everyday," he told Michael Kimmelman in an interview for the New York Times Magazine. "Suddenly, I saw it in a new way, as a picture that offered me a new view, free of all the conventional criteria I had always associated with art. It had no style, no comparison, not judgment. It freed me from personal experience. For the first time, there was nothing to it: it was pure picture. That's why I wanted to have it, to show it - not to use it as a means of painting, but use painting as a means to photography."

Beyond Photo-based Paintings

In the mid-1960s, Richter turned to painting his series "Color Charts," similar to the paint charts found in stores but larger and with the colors situated in no certain order. They were actually, according to Richter, picked at random. For Richter, the group appeared to serve as a renouncement of the clichâs of Abstract art. The paintings contained elements of Pop Art and Minimalism, though they were neither. Furthermore, they were not classifiable as simply Conceptual.

From the color chart pieces, Richter in the late-1960s turned to art inspired by the works of Carl Andre, Sol Lewitt, Robert Ryman, and Dan Flavin, as well as the techniques of Conceptualism. His paintings of this period are minimal landscapes and seascapes, exemplified in the monochromatic series "Gray Pictures." In the early-1970s, Richter moved to an impressive photo-based series of figurative works entitled "48 Portraits" (also known as "Achtundvierzeig Portaits").

Richter also exhibited for the first time "Atlas," an ongoing massive inventory of every source used in his paintings. It includes thousands of new photos, snapshots, postcards, and drawings. Richter next focused on the series "Abstract Paintings," featuring an array of incongruous stylistic gestures. These paintings signified yet another departure for Richter from his figurative work, naturalistic paintings, and non-figurative charts.

Throughout his career, however, Richter repeatedly took a different course that what others expected or desired, received critical opinion as suspect, and refused to let post-modernists label him as any sort of specified artist. "My works are not just rhetorical, except in the sense that all art is rhetorical," Richter said to Kimmelman. "I believe in beauty."

In the 1980s, Richter, after beginning a series of "Candle Paintings," returned to photorealism with what is considered one of the most significant series in this domain with "October 18, 1977," also known as the Baader-Meinhof paintings. The group consists of 15 modestly sized, mostly black pictures of individual figures, crowd scenes, jail cells, and buildings. With this series, Richter succeeded in making the larger issues surrounding the subject matter more important that the subject matter itself. One does not have to know the story of the Red Army Faction - led by street hustler Andreas Baader and radical journalist Ulrike Meinhof, and responsible for a string of robberies, shootings, and bombings of American Army bases - to understand the meaning of the paintings. "They set a new standard for me," expressed Richter, quoted by Village Voice contributor Jerry Saltz.

Forty Years of Painting

Since the late-1960s, Richter's work has been the subject of numerous monographs, exhibitions, and retrospectives, and is represented in permanent collections throughout Germany and the Guggenheim Museum in New York. The first major retrospective in the United States opened in February of 2002 at New York's Museum of Modern Art. "Gerhard Richter: 40 Years of Painting" featured a vast collection of paintings covering the artist's prolific, 40-year career.

Richter married three times and divorced twice, first in 1957 to Marienne (Ema) Eufinger, with whom he had a daughter named Betty; then to artist Isa Genzken in 1982; and finally in 1995 to Sabine Moritz, with whom he had a son named Moritz and a daughter named Ella. He lives and works - in a studio in front of his home - in a suburb outside Cologne, Germany.

Books

Complete Marquis Who's Who, Marquis Who's Who, 2001.

Contemporary Artists, St. James Press, 1996.

Newsmakers 1997, Issue 4, Gale Research, 1997.

Periodicals

Art in America, September 1993; January 1994; September 1994;November 1996; January 2002.

Art Journal, Spring 2002.

Artforum, Summer 2002.

Artforum International, March 1993; September 1993; January 1994; February 1999; November 2002.

Atlanta Journal-Constitution, March 24, 2002.

Chicago Tribune, September 25, 1988; December 22, 1988; June 30, 2002.

Christian Science Monitor, June 2, 1997.

Europe, May 2002.

Interview, September 2001.

Los Angeles Times, March 26, 1989; January 14, 1990; April 6, 2002.

Nation, May 13, 2002.

New Republic, April 1, 2002.

New Statesman, May 6, 2002.

New York Times, October 5, 2001; February 15, 2002; February 22, 2002; May 16, 2002.

New York Times Magazine, January 27, 2002.

Newsweek, March 25, 2002.

Salmagundi, Winter/Spring 2002.

Time, May 6, 2002.

U.S. News & World Report, February 11, 2002.

Village Voice, March 5, 2002.

Wall Street Journal, November 22, 1988.

Washington Post, December 11, 1988; January 12, 1989.

Gerhard Richter
Gerhard Richter, 2005
Born	February 9, 1932 (1932-02-09) (age 77) Dresden, Germany
Field	Painting
Training	Dresden Art Academy, Dresden / Kunstakademie Düsseldorf, Düsseldorf
Works	Atlas (1964)[1][2], Baader-Meinhof (October 18, 1977), (1988)[3], Acht Grau (Eight Grey), 2002[4]

Gerhard Richter (born February 9, 1932) is a German visual artist.

Contents 1 Biography 2 Art 2.1 Photo-paintings and the Blur 2.2 Abstract work 2.3 Richter and Minimalism 3 Auctioned works 4 Quotes 5 Solo exhibitions 6 See also 7 Notes 8 References 9 External links

Biography

Richter was born in Dresden, Saxony, and grew up in Reichenau, Lower Silesia, and in Waltersdorf (Zittauer Gebirge) in the Upper Lusatian countryside. He left school after tenth grade and apprenticed as an advertising and stage-set painter, before studying at the Dresden Art Academy. In 1948 he terminated the higher professional school in Zittau, and, between 1949 and 1951, was trained there in writing as well as in stage and advertising painting. In 1950 his application for membership in the Hochschule für Bildende Künste Dresden (Dresden University of Visual Arts, founded in 1764) was rejected. He finally began his study at the Dresden Academy of Arts in 1951. His teachers were Karl von Appen, Ulrich Lohmar and Will Grohmann. In these early days of his career he prepared a wall painting ("Communion with Picasso", 1955) for the refectory of this Academy of Arts as part of his B.A. A further mural followed within the Hygienemusem (German Hygienic Museum) with the title („Lebensfreude“, which means "Joy of life") for his diploma.

Gerhard Richter c. 1970, photograph by Lothar Wolleh

Both paintings had been painted over for ideological reasons after Richter escaped from East to West Germany (2 months before the building of the Berlin wall); after unification of both German states, the wall painting Joy of life (1956) was uncovered in two places in the stairway of the German Hygienic Museum, and after the millennium these two uncovered windows with a look at the Joy of Life had been newly recovered. From 1957 to 1961 Richter worked as a master trainee in the academy and took orders for the former state of the GDR. During this time he worked intensively at murals (Arbeiterkampf, which means Worker fight), on paintings in oil (f.e. portraits of the well known East-German actress Angelica Domroese and of Richter's first wife Ema), on various self portraits and furthermore on a panorama of Dresden with the neutral name Stadtbild (Townscape, 1956).

When he arrived in West-Germany, Richter began to study at the Kunstakademie Düsseldorf under K. O. Götz together with Sigmar Polke, Konrad Lueg and Gotthard Graupner. With Polke and Lueg he introduced the term Kapitalistischer Realismus (Capitalistic Realism) as an anti-style of art, appropriating the pictorial shorthand of advertising. This title also referred to the realist style of art known as Socialist Realism, then the official art doctrine of the Soviet Union, but it also commented upon the consumer-driven art doctrine of western capitalism. Later, Lueg founded the gallery Konrad Fischer in Düsseldorf.

Richter taught as a visiting professor at the Hochschule für Bildende Künste, in Hamburg, and the Nova Scotia College of Art and Design, and returned in 1971 to Düsseldorf Art Academy as a professor for over 15 years. In 1983, Richter resettled from Düsseldorf to Cologne, where he still lives today.

Richter married Marianne Eufinger in 1957. Nine years later, she gave birth to his first daughter, Betty. He married his second wife, the sculptor Isa Genzken, in 1982. Richter had his son, Moritz, with his third wife, Sabine Moritz, the year they were married, 1995. One year later, his second daughter, Ella Maria, was born.

Richter had his first solo show, Gerhard Richter, in 1964 at Galerie Schmela in Düsseldorf. Soon after, he had exhibitions in Munich and Berlin and by the early 1970s exhibited frequently throughout Europe and the United States. His fourth retrospective, Gerhard Richter: 40 Years of Painting, curated by Robert Storr, opened at New York's Museum of Modern Art in February 2002, then traveled to Chicago, San Francisco, and Washington, DC.

The Gerhard Richter Archive was established in cooperation with the artist in 2005 as an institute of the State Art Collections in Dresden, Germany (www.gerhard-richter-archiv.de).

Richter has published a number of catalogues, monographs, and books of his artwork and notes on painting, and has been awarded many honors and prizes for his art. He continues to make and exhibit paintings. In November 2008 the first major retrospective of Richter's paintings to be held in Britain since 1991--and the first ever in Scotland--opens at the National Galleries of Scotland in Edinburgh.

Although Richter gained popularity and critical praise throughout his career, his fame burgeoned during his 2005 retrospective exhibition, which declared his place among the most important artists of the 20th century. Today, many call Gerhard Richter the best living painter. In part, this comes from his ability to explore the medium at a time when many were heralding its death.

In 2005 Richter, in an interview by the German political magazine Spiegel, wondered why citizens of Salzburg did not protest a sculpture by Markus Lüpertz, and described the work as expressing the deprivation of public art sponsorship in Germany. The sculpture, an homage to Mozart, was promptly attacked by a right-wing art activist from Austria and badly damaged.[1]

Art

Richter has stated that the use of photographic imagery as a starting point for his early paintings resulted from an attempt to escape the complicated process of deciding what to paint, along with the critical and theoretical implications accompanying such decisions within the context of a modernist discourse. To achieve this, Richter began amassing photos from magazines, books, etc, many of which became the subject matter of his early photography-based paintings. Thus the Atlas was born; a collection of thousands of photographs, and cropped magazine and newspaper images, compiled in a single volume.

Photo-paintings and the Blur

Many of Richter's paintings are made in a multi-step process of representations. He starts with a photograph, which he has found or taken himself, and projects it onto his canvas, where he 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"—sometimes a softening by the light touch of a soft brush, sometimes a hard smear by an aggressive pull with his squeegee—has two effects: 1. It offers the image a photographic appearance; and 2. Paradoxically, it testifies the painter's actions, both skilled and coarse, and the plastic nature of the paint itself.

In some paintings blurs and smudges are severe enough to disrupt the image; it becomes hard to understand or believe. The subject is nullified. In these paintings, images and symbols (such as landscapes, portraits, and news photos) are rendered fragile illusions, fleeting conceptions in our constant reshaping of the world.

In a 1988 series of fifteen ambiguous photo paintings entitled Baader-Meinhof (October 18, 1977) he depicted four members of the Red Army Faction (RAF), a German left-wing terrorist organization. These paintings were created from black-and-white newspaper and police photos. Three RAF members were found dead in their prison cells on October 18, 1977, and the cause of their deaths was the focus of widespread controversy.^[5]

Abstract work

In his abstract pictures, Richter builds up cumulative layers of nonrepresentational painting. The paintings evolve in stages, based on his responses to the picture’s progress: the incidental details and patterns that emerge. Throughout his process, Richter uses the same techniques he uses in his representational paintings, blurring and scraping to veil and expose prior layers.

Richter’s abstract work is remarkable for the illusion of space that develops, ironically, out of his incidental process: an accumulation of 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 of spatial logic and believability.

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 the combination of new attempts to understand—to represent; in his case, to paint—the world surrounding us.Sonic Youth comissioned a painting of his for the cover art for their "Daydream nation" album in 1987.He was a fan of the band and did not charge for the use of his image.The original,over 7 metres square,is now showcased in Sonic Youth's studio in NYC.

Stained glass window in the Cologne Cathedral, 20 meters tall

His 2004 book War Cut combines 216 closeup photos of his 1987 painting No. 648-2 with the same number of newspaper articles from the Frankfurter Allgemeine Zeitung about the beginning of the Iraq War.^[6]

In August 2007, Richter's stained glass in the Cologne Cathedral was unveiled. It is an 113 square metre abstract collage of 11,500 pixel-like squares in 72 colors, randomly arranged by computer (with some symmetry), reminiscent of his 1974 painting "4096 colours". Richter designed the window for free. Cardinal Joachim Meisner did not attend the window's unveiling; he had preferred a figurative representation of 20th century Christian martyrs and said that Richter's window would fit better in a mosque or prayer house.^{[7][8] [9]}

Richter and Minimalism

Throughout the body of Richter's work one can often observe waves of minimalism appearing only to disappear again. It has been noted that perhaps it may be necessary to view Richter as a conceptual artist wherein his individual pieces point towards a very painterly approach, while possibly this may not be his intent. If one views the progressions in the individual series as single works, a very different concept erupts. While many critics agree that this analysis may be necessary, let us take it one step further: assuming that Richter's small series is analogous to his entire body of work, one sees the same images of realism to blur. For example Eight Grey 2002. It may be considered, thus, that he is interested in the progression, and not in the individual images nor the qualities of paint nor any other medium he uses. In this a new idea of minimalism is born; a minimalism where the material means nothing, however, its use is technically masterful. As was said by Jan Van Eyck in the inscription on the frame of Man in the Red Turban "Als Ich Kann" which are the first words of the proverb "As I can, but not as I would."

In 1976, Richter first gave 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.”

Auctioned works

At Pierre Bergé & Associés in July 2009, Richter’s 1979 oil painting Abstraktes Bild exceeded its high estimate, raking in €95,000 ($136,021). ^[10]

Quotes

“One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is idiocy.” (From Richter, 'Notes 1973', in The Daily Practice of Painting, p. 78.)

Solo exhibitions

• 'Gerhard Richter 4900 Colours: Version II' at the Serpentine Gallery, London, United Kingdom. 2008 ^[11]
• 'Gerhard Richter Portraits' at the National Portrait Gallery, London, United Kingdom. 2009 ^[12]

See also

• Karl Otto Götz

Notes

1. ^ http://www.gerhard-richter.com/art/atlas/
2. ^ http://www.diaart.org/exhibs/richter/atlas/essay.html
3. ^ http://www.gerhard-richter.com/art/paintings/photo_paintings/category.php?catID=56
4. ^ http://www.gerhard-richter.com/exhibitions/exhibition.php?exID=43&show_per_page=32&page_selected=3
5. ^ October 18, 1977, Museum of Modern Art
6. ^ Thorn-prikker, Jan (2004-07-04). "Gerhard Richter Goes to War". The New York Times. ISSN 0362-4331. http://www.nytimes.com/2004/07/04/arts/design/04THOR.html?ex=1200286800&en=f2f92094fc4c8043&ei=5070. Retrieved 2008-01-13. 
7. ^ Fortini, Amanda (2007-12-09). "Pixelated Stained Glass". The New York Times. ISSN 0362-4331. http://www.nytimes.com/2007/12/09/magazine/09pixelated.html?_r=1&ref=magazine&oref=slogin. Retrieved 2008-01-12. 
8. ^ Gerhard Richter weist Meisners Kritik zurück, Die Welt, 31 August 2007. (German)
9. ^ Window by Artist Gerhard Richter Unveiled at Cologne Cathedral, Deutsche Welle, 27 August 2007
10. ^ "In Brief: Pierre Bergé & Associés." Art+Auction, October 2009.
11. ^ http://www.serpentinegallery.org/2008/06/gerhard_richter4900_colours_ve.html
12. ^ http://www.npg.org.uk:8080/richter/index.htm

References

• Jürgen Harten (ed.): "Gerhard Richter. Paintings 1962–1985". With a catalogue raisonné from Dietmar Elger 1962–1985, Cologne 1986. (In German)
• Angelika Thill: "Catalogue raisonné since 1962". In: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland GmbH (ed.): "Gerhard Richter", Ostfildern-Ruit 1993. (Mrs. Thill offers the now accepted catalogue raisonné between 1963 and 1993, without Gerhard Richter's early works before 1962 after 1993, in German)
• Gerhard Richter: "The Condition of History." In: Charles Harrison, & Paul Wood (Eds.), "Art in Theory 1900-1990". An Anthology of Changing Ideas, Malden/Mass. (Blackwell Publishers Ltd.), 1999.
• Eckhart Gillen: "Gerhard Richter: Mr. Heyde or the murders are among us". The battle with the trauma of the displaced history of Western Germany. In: Eckhart Gillen: Problems in searching for the truth (…), Berlin 2002, p. 186–191. (In German)
• Dietmar Elger: "Gerhard Richter. Painter," Cologne (Dumont-Biography) 2002. (In German) ISBN 3832158480
• Robert Storr: "Gerhard Richter, Painting," Ostfildern-Ruit (Hatje Cantz) 2002. (In German) ISBN 3775711694
• Dietmar Elger: "Gerhard Richter, Landscapes", Ostfildern-Ruit (Hatje Cantz) 2002. ISBN 3775791019
• Hubertus Butin/Stefan Gronert: "Gerhard Richter. Editions 1965-2004". Catalogue raisonné, Ostfildern-Ruit (Hatje Cantz) 2003/2004. ISBN 3775714308
• Jürgen Schilling: "Gerhard Richter. A private collection", Duesseldorf 2004. (In German) ISBN 3937572007
• Andrew McNamara: "Optative Death: Gerhard Richter in the Wake of the Vanguard," in Elizabeth Klaver (ed.), Images of the Corpse: From the Renaissance to Cyberspace (The University of Wisconsin Press) 2004. (In English) ISBN 0299197905
• Hans-Ulrich Obrist: "Gerhard Richter. 100 paintings", Ostfildern-Ruit (Hatje Cantz) 2005. (In German) ISBN 3893228519
• Juergen Schreiber: "A painter from Germany". Gerhard Richter. A family drama, München and Zürich (Pendo publishers) 2005. (In German) ISBN 3866120583
• Jeanne Anne Nugent: "Family Album and Shadow Archive": Gerhard Richter's East, West, and all German Painting, 1949–1966. Dissertation in the History of Art presented to the Faculties of the University of Pennsylvania, Philadelphia 2005.
• Ernst Hohenthal: "A family secret in the public domain". New revelations about Gerhard Richter's Herr Heyde, in: Christies's Magazine, November 2006, New York and London 2006, ISSN 0266–1217 Vol. XXIII. No.5, S 62 f.
• Ulrich Bischoff/Elisabeth Hipp/Jeanne Anne Nugent: "From Caspar David Friedrich to Gerhard Richter": German Paintings from Dresden. Getty Trust Publications, Jean Paul Getty Museum, Cologne 2006.

External links

• Quotes from Gerhard Richter's writing
• Link to Gerhard Richter Retrospective at National Galleries of Scotland

Wikiquote has a collection of quotations related to: Gerhard Richter

• Selective Affinities: On Friedrich-Richter Review of Exhibition at the Getty Museum in X-TRA : Contemporary Art Quarterly
• Window by Artist Gerhard Richter Unveiled at Cologne Cathedral, August 27, 2007.
• Official website, comprehensive image database, biography, literature list and timeline for Gerhard Richter
• Poster Editions sales website for select Gerhard Richter works
• Guggenheim: Gerhard Richter
• Gerhard Richter Archive (State Art Collections Dresden, Germany)
• Marian Goodman: Gerhard Richter
• Available Paintings and Works on Paper Galerie Ludorff, Duesseldorf, Germany
• Jerry Saltz: Gerhard Richter
• Painting Richter - Gerhard Richter - Critical Essay ArtForum, Summer, 2002
• Gerhard Richter essay by Keith Harley, MAP Magazine, Issue 16, Winter 2008
• Essay
• NY Times Interview (registration required)
• SFMOMA - Gerhard Richter Making sense of modern art
• actual exhibitions with Gerhard Richter
• Take a picture... Umpteen Grey (to Gerhard Richter)
• Gerhard Richter news, books and exhibition
• Current exhibitions and connection to galeries at Artfacts.Net
• "18. Oktober 1977: Gerhard Richter’s Work of Mourning and Its New Audience", College Art Association, Art Journal, Spring 2002
• Review of Gerhard Richter Atlas exhibition at Whitechapel Gallery London, 2003
• Bibliography Photopaintings : Atlas and 18. Oktober 1977

v • d • e Laureates of the Wolf Prize in Arts Architecture Ralph Erskine (1983/4) · Fumihiko Maki & Giancarlo De Carlo (1988) · Frank Gehry/Jørn Utzon/Denys Lasdun (1992) · Frei Otto & Aldo van Eyck (1996/7) · Álvaro Siza Vieira (2001) · Jean Nouvel (2005) Music Vladimir Horowitz/Olivier Messiaen/Josef Tal (1982) · Isaac Stern/Krzysztof Penderecki (1987) · Yehudi Menuhin/Luciano Berio (1991) · Zubin Mehta/György Ligeti (1995/6) · Pierre Boulez/Riccardo Muti (2000) · Mstislav Rostropovich/Daniel Barenboim (2004) · Giya Kancheli/Claudio Abbado (2008) Painting Marc Chagall/Antoni Tàpies (1981) · Jasper Johns (1986) · Anselm Kiefer (1990) · Gerhard Richter (1994/5) · Louise Bourgeois (2002/3) · Michelangelo Pistoletto (2006/7) Sculpture Eduardo Chillida (1984/5) · Claes Oldenburg (1989) · Bruce Nauman (1993) · James Turrell (1998) · Louise Bourgeois (2002/3) · Michelangelo Pistoletto (2006/7) Agriculture · Arts · Chemistry · Mathematics · Medicine · Physics

Persondata
NAME	Richter, Gerhard
ALTERNATIVE NAMES
SHORT DESCRIPTION	Artist
DATE OF BIRTH	February 9, 1932
PLACE OF BIRTH	Dresden, Germany
DATE OF DEATH
PLACE OF DEATH

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