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Biography 1 Result
'Well, after this century of grand proclamations and terrible illusions, I hope for an era in which real and tangible accomplishments, and not grand proclamations, are the only things that count.'75
At the turn of the century, Richter remained focused on his Abstract Paintings - three paintings of his young son Moritz being the most notable exception [CR: 863/1-3]. Eight Grey [CR: 874/1-8] of 2001 heralded a number of works that continued the experimentation with glass. Works such as Pane[...]
Chronology 1 Result
1932: 9 February: Gerhard Richter is born in Dresden to Hildegard Richter, a bookseller, and Horst Richter, a school teacher.
1933: 30 January: Adolf Hitler becomes Chancellor.
1936: the Richter family moves to Reichenau, a town close to Dresden, today known as Bogatynia in Poland. Richter's sister Gisela is born.
1939: 1 September: the German invasion of Poland begins; Horst is drafted in to the military and sent to the Eastern Front.
1942: Richter joins the Pimpfe, an organisation that[...]
Quotes 2 Results
Over the years, glass has become increasingly important in your work. In 1967 you made your first glass object, the 4 Scheiben [4 Panes of Glass] [CR: 160]. What's the essence of your relationship to glass? You noted on a sketch: 'Glass – Symbol (see everything, understand nothing)'. The closest thing to the readymades are your mirrors. […] What do you see in the mirror?
Myself. But then I immediately see that it functions like a painting. Just more perfectly. And just like a painting, it shows something that isn't there – at least not there where we see it.
So the mirror would be the perfect artist?
Were you influenced by Duchamp when you painted the pictures Woman Walking Downstairs (1965) [CR: 92] and Ema (1966) [CR: 134], and when you made the 4 Panes of Glass (1967) [CR: 160]?
I knew Duchamp's work, and there certainly was an influence. It may partly have been an unconscious antagonism – because his painting Nude Descending a Staircase rather irritated me. I thought very highly of it, but I could never accept that it had put paid, once and for all, to a certain kind of painting. So I did the opposite and painted a 'conventional nude'. But, as I said, it was an unconscious process, not a strategy. The same happened with the 4 Panes of Glass. I think something in Duchamp didn't suit me – all that mystery-mongering – and that's why I painted those simple glass panes and showed the whole windowpane problem in a completely different light.
Videos 1 Result
Auctions 1 Result
|Artwork||Auction House||Estimate||Sold For||Date|
30 cm x 40 cm
Oil on canvas
|GBP 7,000 – 10,000 USD 11,577 – 16,539||GBP 12,075
|10 December 1998|