Deutschlandbilder. Kunst aus einem geteilten Land
Images of Germany: Art from a Divided Country
Martin-Gropius-Bau, Berlin, Germany
07 September 1997 - 11 January 1998
editThe large-formatted painting Funeral by Gerhard Richter depicts the interment of Andreas Baader, Gudrun Ensslin and Jan-Carl Raspe, terrorists of the Red Army Faction (RAF) at the Dornhaldenfriedhof in Stuttgart on the 27th October 1977, that was attended by thousands of sympathizers, allies, journalists and bystanders[1]. This painting is based on a still from material filmed by TV cameras on the day of the funeral[2] with Richter choosing a take showing the events from a distance[3].
In the centre of the painting the three bright coffins in which Baader, Ensslin and Raspe are carried to their graves are clearly recognisable. Their route is lined by a crowd of people that stretches to a line of trees in the background. Some solitary figures are discernible in the foreground on the right side but their faces remain indistinct. Contrary to the static still, Richter manages to embed a sense of motion into the painting. This painted motion blur enhances the temporal progress of events that characterises the subject. On the one hand, there is the procession of coffins embodying physical motion, on the other hand there is the internal process of leave-taking[4]. The people in the crowd are reduced to a uniform grey mass that seems to rotate around the coffins which is supported by the low horizontal line[5].
The painting Funeral is often cited to discuss Richter’s examination of history painting. As the largest painting in the cycle October 18, 1977 it fulfils one of the formal criteria of traditional history painting[6] though Richter treats a contemporary subject. In contrast to traditional history painting that depicts the heroes of important historical or contemporary events, Richter shows the funeral of failed terrorists that fought the current state. While traditionally the events were depicted in minute detail, Richter blurs them. While normally a glorification or legitimisation of the state takes place, Richter’s works pose questions. The work does not serve the purpose of a detailed description of certain events or the creation of an historical truth but instead brings to mind certain events and the concomitant feelings of sadness and leave-taking[7].
Along with the three terrorists, their ideology and paradigms seem to be carried to its grave[8]. For Gerhard Richter, this painting especially represents a sort of leave-taking: “The pictures are also a leave-taking, in several respects. Factually: these specific persons are dead; as a general statement, death is leave-taking. And then ideologically: a leave-taking from a specific doctrine of salvation and, beyond that, from the illusion that unacceptable circumstances of life can be changed by this conventional expedient of violent struggle.'[9]
[1] Ortrud Westheider, “Eine Idee, die bis zum Tod geht. Der Zyklus 18. Oktober 1977”, in: Uwe M. Schneede (ed.), Gerhard Richter. Bilder einer Epoche, exh. cat. Bucerius Kunst-Forum, Munich, 2011, p. 161.
[2] Robert Storr (ed.), Gerhard Richter. October 18, 1977, The Museum of Modern Art, New York, 2000, p. 149.
[3] Westheider 2011, p. 161.
[4] Martin Henatsch, Gerhard Richter – 18. Oktober 1977. Das verwischte Bild der Geschichte, Fischer, Frankfurt, 1998, p. 81.
[5] Storr 2000, p. 109.
[6] Kai-Uwe Hemken, Gerhard Richter 18. Oktober 1977, insel, Frankfurt/Leipzig, 1998, p. 91.
[7] Storr 2000, p. 121-123.
[8] Hemken 1998, p. 91.
[9] Notes, 1989 (translated by David Britt) in: Gerhard Richter. Text. Writing, Interviews and Letters 1961-2007, Thames & Hudson, London, 2009, p. 213.
Notes prepared by editorial team
The Museum of Modern Art (MoMA), New York, USA
This artwork is based on an image included in Atlas:
This artwork was shown in the following exhibitions::
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Exhibitions
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Gerhard Richter. October 18, 1977 | Storr, Robert edit | 2000 | |||||||||||||||||||||
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This catalogue raisonné of Gerhard Richter's drawings encompasses works in pencil, India ink, ballpoint pen, and other drawing media, on both paper and canvas since 1964. ... |
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Gerhard Richter | Corà, Bruno / Buchloh, Benjamin H. D. / Chevrier, Jean Francois / Moscati, Italo edit | 1999 | |||||||||||||||||||||
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L'image-événement. Représentations de la terreur dans l'œuvre de Willie Doherty et de Gerhard Richter | Lavoie, Vincent edit | 1999 | |||||||||||||||||||||
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Gerhard Richter, 18. Oktober 1977. Eine Kunst-Monographie | Hemken, Kai-Uwe edit | 1998 | |||||||||||||||||||||
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Exhibitions |
Gerhard Richter, Sigmar Polke, Arnulf Rainer. Sammlung Frieder Burda = Collection Frieder Burda | Poetter, Jochen / Brehm, Margrit / Möckel, Birgit edit | 1996 | |||||||||||||||||||||
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Exhibitions
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Exhibitions
Designed by the artist himself, this publication gives a rare insight into one of the most intensive work periods (1995–1996) of Richter’s life. ... |
Gerhard Richter. 100 Pictures | Obrist, Hans Ulrich / Pelzer, Birgit / Tosatto, Guy edit | 1996 | |||||||||||||||||||||
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Exhibitions
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Stammheim. Gerhard Richter | Seymour, Anne edit | 1995 | |||||||||||||||||||||
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Aus der Sammlung. Nach 25 Jahren | Grisebach, Lucius / Braunsberg, Günter edit | 1992 | |||||||||||||||||||||
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Zu Richters Oktober-Bildern | Butin, Hubertus edit | 1991 | |||||||||||||||||||||
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Museum für Moderne Kunst und Sammlung Ströher | edit | 1991 | |||||||||||||||||||||
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Exhibitions |
Gerhard Richter: Atlas | Zweite, Armin edit | 1989 | |||||||||||||||||||||
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Gerhard Richter 1988/89 | Schampers, Karel / Tilroe, Anna / Buchloh, Benjamin H. D. edit | 1989 | |||||||||||||||||||||
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18. Oktober 1977 | Ammann, Jean-Christophe edit | 1989 |
This artwork is shown or mentioned in the following videos:
3 Related publications
Title | Author | Date | ||||
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'Es geht doch auch darum, daß wir so eine Geschichte nicht einfach vergessen können' | Jacobi, Fritz | 1997 | |||
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Deutschlandbilder. Kunst aus einem geteilten Land | Gillen, Eckhart | 1997 | |||
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