Gerhard Richter: Survey

The catalogue Gerhard Richter. Übersicht accompanies the eponymous exhibition of the German Institut für Auslandsbeziehungen (IfA), which has been composed by Gerhard Richter himself.

The exhibition has been touring different countries for several years and presents Richter's œuvre abroad. The 27 selected works offer an insight into nearly every creative phase of the artist. The exhibition does not claim to show Richter's work comprehensively, the title rather refers to the exhibited piece of work Overview [Editions CR: 93] of 1998.

With a preface by Götz Adriani and text contributions by Dieter Schwarz.

The catalogue Gerhard Richter. Survey accompanies the eponymous exhibition of the German Institut für Auslandsbeziehungen (IfA), which has been composed by Gerhard Richter himself.

The exhibition has been touring different countries for several years and presents Richter's œuvre abroad. The 27 selected works offer an insight into nearly every creative phase of the artist. The exhibition does not claim to show Richter's work comprehensively, the title rather refers to the exhibited piece of work Overview [Editions CR: 93] of 1998.

With a preface by Götz Adriani and text contributions by Dieter Schwarz.

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.

For nearly 40 years Gerhard Richter has been examining the ways we perceive reality and the effects of different forms of representation on the viewer. 'For me,' he has said, 'there is no difference between a landscape and an abstract painting. In my view, the term 'realism' makes no sense.'

Richter began painting on photographs in 1989 as a way of joining seemingly opposing values: the tactile paint mark that is actually abstract and the illusionistic depiction of real space created by the action of light on film. This particular volume, Gerhard Richter: Florence, contains a series of small snapshots of the view outside Richter's Cologne studio as well as street scenes in Florence, which he altered by applying oil paint with a palette knife. In some images, he reinforces the intense colour of the photograph; in others, the paint nearly obliterates the scene. The artist, who originally conceived the project for a set of CDs (thus the chosen square format), overthrows normal expectations. The numerical dates that serve as titles are completely unrelated to the dates when the photographs were taken or painted. The size of the reproductions is slightly larger than the originals and the rhythmic blotting out of chunks of a view creates a miniature abstract beauty with an almost jewel-like quality based on its small size.
 

For nearly 40 years Gerhard Richter has been examining the ways we perceive reality and the effects of different forms of representation on the viewer. 'For me,' he has said, 'there is no difference between a landscape and an abstract painting. In my view, the term 'realism' makes no sense.'

Richter began painting on photographs in 1989 as a way of joining seemingly opposing values: the tactile paint mark that is actually abstract and the illusionistic depiction of real space created by the action of light on film. This particular volume, Gerhard Richter: Florence, contains a series of small snapshots of the view outside Richter's Cologne studio as well as street scenes in Florence, which he altered by applying oil paint with a palette knife. In some images, he reinforces the intense colour of the photograph; in others, the paint nearly obliterates the scene. The artist, who originally conceived the project for a set of CDs (thus the chosen square format), overthrows normal expectations. The numerical dates that serve as titles are completely unrelated to the dates when the photographs were taken or painted. The size of the reproductions is slightly larger than the originals and the rhythmic blotting out of chunks of a view creates a miniature abstract beauty with an almost jewel-like quality based on its small size.