L'immagine ritrovata: Pittura e fotografia dagli anni ’80 ad oggi

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter, Maler gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

Gerhard Richter. Rot, Gelb, Blau by Helmut Friedel analyses and contextualises the paintings Red, Yellow and Blue [CR: 345/1-3] commissioned by BMW for their Munich headquarters, within the context of Richter’s œuvre.

During the years 1970 to 1980 Gerhard Richter frequently addressed paint as a means of painting and especially images of pastose brush strokes. This examination led to the large works Red, Yellow and Blue of 1973, each measuring 3 x 6 metres. The BMW headquarters themselves are also considered, as the space, for which Richter created the paintings.

A text contribution by Robert Storr places Red, Yellow, and Blue in an historical context and refers to the historical aspects that might have played a role in the creative process of the BMW works.

The catalogue raisonné of Gerhard Richters editions 1965–2004 was published to coincide with exhibitions in Bonn, Lucerne, Emden, Tübingen and Salzburg.

Authorised by Gerhard Richter, this catalogue takes into account limited edition objects, graphics and photographs as well as oil painting editions, artists' posters and artists' books. It is an edited and extended version of an editions' catalogue raisonné published in 1993.

The text contributions analyse the idea behind the editions and their design and consider them in the context of Richter's œuvre. Thus the limited edition pieces reflect essential focus points of his painterly work: in addition to portraits, still lifes and landscapes, also monochrome and abstract works can be found within the editions, as can the result of his engagement in glass materials and the principle of chance.

Text contributions by Hubertus Butin, Stefan Gronert and Catharina Manchanda.

The publication Gerhard Richter. Editions 1965 – 2013 updates the catalogue raisonné of his editions that was published ten years earlier. This book includes additionally 35 new and hitherto unknown works, as well as proofs. It contains all original works that were made in editions, such as prints, photographic editions, artist’s books, artist’s posters, multiples and editions of paintings, which were produced before 2013.

Text contributions by Hubertus Butin and Stefan Gronert provide an insight into techniques, form, relevance and context of the editions. Butin analyses the significance of editions in Richter’s oeuvre as well as its relevance in art history. Gronert concentrates on the importance of photography in Richter’s oeuvre; not only does it play a role as a medium of reproduction but also as source of templates for his paintings.

The publication Gerhard Richter. Editionen 1965 – 2013 updates the catalogue raisonné of his editions that was published ten years earlier. This book includes additionally 35 new and hitherto unknown works, as well as proofs. It contains all original works that were made in editions, such as prints, photographic editions, artist’s books, artist’s posters, multiples and editions of paintings, which were produced before 2013.

Text contributions by Hubertus Butin and Stefan Gronert provide an insight into techniques, form, relevance and context of the editions. Butin analyses the significance of editions in Richter’s oeuvre as well as its relevance in art history. Gronert concentrates on the importance of photography in Richter’s oeuvre; not only does it play a role as a medium of reproduction but also as source of templates for his paintings.

The catalogue raisonné of Gerhard Richters editions 1965–2004 was published to coincided with exhibitions in Bonn, Lucerne, Emden, Tübingen and Salzburg.

Authorised by Gerhard Richter, this catalogue takes into account limited edition objects, graphics and photographs as well as oil painting editions, artists' posters and artists' books. It is an edited and extended version of an editions' catalogue raisonné published in 1993.

The text contributions analyse the idea behind the editions and their design and consider them in the context of Richter's œuvre. Thus the limited edition pieces reflect essential focus points of his painterly work: in addition to portraits, still lifes and landscapes, also monochrome and abstract works can be found within the editions, as can the result of his engagement in glass materials and the principle of chance.

Text contributions by Hubertus Butin, Stefan Gronert and Catharina Manchanda.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter, Maler gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

This edition of the biography Gerhard Richter, Maler published in 2008 was slightly revised to include details of more recent events in Richter’s life.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter. A Life in Painting gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

This English translation of the biography Gerhard Richter, Maler by Dietmar Elger, published in 2009, was slightly revised for the Anglophone reader.

Gerhard Richter. Rot, Gelb, Blau by Helmut Friedel analyses and contextualises the paintings Red, Yellow and Blue [CR: 345/1-3] commissioned by BMW for their Munich headquarters, within the context of Richter’s œuvre.

During the years 1970 to 1980 Gerhard Richter frequently addressed paint as a means of painting and especially images of pastose brush strokes. This examination led to the large works Red, Yellow and Blue of 1973, each measuring 3 x 6 metres. The BMW headquarters themselves are also considered, as the space, for which Richter created the paintings.

A text contribution by Robert Storr places Red, Yellow, and Blue in an historical context and refers to the historical aspects that might have played a role in the creative process of the BMW works.

As part of a comprehensive scholarly reassessment, art historian and director of the Gerhard Richter Archive Dresden Dietmar Elger published the third of five planned volumes of Gerhard Richter's Catalogue Raisonné.

It includes the work numbers 389 to 651, from the years 1976 to 1987, which Richter himself assigned to the works. In addition to numerous images, the book also includes complete technical information for all works, his handwritten assigned titles, and the provenance of all individual works. Remarks, quotations and comparative illustrations complement the exhibition details and bibliographical references.

This catalogue raisonné records Richter’s works in the years 1993-2004.

In his work, Gerhard Richter calls into question painting's boundaries, and the labels applied to painting and theories connected with them. In his pictures based on photographs - blurred overpaintings, grey paintings, and landscape and abstract compositions - he makes clear that nothing perceived by our senses can ever be found in a picture. The outer world is not portrayable and the inner one resists any comparison. While his painted works based on photographs illustrate painting's superiority, his glass works - glass panes, paintings on glass, mirrors and sculptures - question the interaction of viewer and picture and, like the paintings, offer a window onto the world. This publication takes account of all the important stages of Richter's oeuvre.