Art 8/30 Results Show all results
Biography 2 Results
As the 1990s began, Richter was busy with Abstract Paintings, which he devoted his time to almost exclusively for the first year. After a hectic couple of years with both production and exhibitions, Richter needed some time to settle down in the studio and he postponed several exhibitions to which he had been committed.
In 1991, he returned to the medium of mirrors, which he had first explored a decade earlier in four pieces [CR: 470/1-2, 485/1-2]. In 1989 Richter had the chance to work[...]
'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 3/4 Results Show all results
You've said that in the 1960s you were very impressed by Cage's Lecture on Nothing, in which he at one point said: 'I have nothing to say and I am saying it.' How did you understand that paradox then, and how did you relate it to your own desire to avoid making big declarative statements in your own work?
I thought that this was born out of the same motivation that makes him use the notion of chance, which is that we can't know or say very much at all, in a very classical philosophical sense: 'I know that I don't know anything.'
Back then, when you talked about your use of photography as the source for paintings, the range of choices you had, and the disparateness of your selection, were you thinking of the apparent arbitrariness of Cage's procedures as a model?
Cage is much more disciplined. He made chance a method and used it in constructive ways; I never did that. Everything here is a little more chaotic.
Chaotic in a sense of more arbitrary or more chaotic in a sense of more intuitive?
Maybe more intuitive. I believe that he knew more what he was doing. I might be absolutely wrong about this, but that was my impression.
And what is it that connects Vermeer, Palladio, Bach, Cage?
It's that same quality I've been talking about. It's neither contrived, nor surprising and smart, not baffling, not witty, not interesting, not cynical, it can't be planned and it probably can't even be described. It's just good.
Exhibitions 3/5 Results Show all results
Literature 3/7 Results Show all results
| Title | Author | Date | ||||
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Cage. Six paintings by Gerhard Richter | Storr, Robert | 2009 | |||
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Gerhard Richter. Cage - 6 Abstract Paintings 2006 | 2008 | ||||
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Taking a Chance | Souter, Anna | 2012 |
Links 1 Result
Videos 4/11 Results Show all results
Auctions 3 Results
| Artwork | Auction House | Estimate | Sold For | Date | ||||||
|---|---|---|---|---|---|---|---|---|---|---|
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Fifty-Fifty Galerie Düsseldorf, Germany |
GBP 200,000 USD 275,625 |
31 March 2014 | |||||||
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Cage Grid (Teil A) 75cm x 75 cm Giclée print on paper mounted on aluminium |
Fifty-Fifty Galerie Düsseldorf, Germany |
Contact auction house | GBP 200,000 USD 275,625 |
31 March 2014 | |||||
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Cage Grid (Teil D) 75cm x 75 cm Giclée print on paper mounted on aluminium |
Christie's (South Kensington) London, UK |
GBP 10,000 – 15,000 USD 16,620 – 24,930 | GBP 76,900 USD 126,808 |
26 March 2014 |