Gerhard Richter, ‘Onkel Rudi (Uncle Rudi)’, 2000, Phillips

This work is number VII from an edition of 80 plus XXV plus a trial print on baryta paper.

Signature: signed and numbered "Richter VII/XXV" on the reverse

Publisher: Centro Per L'Arte Contemporanea Luigi Pecci, Prato, Italy

Hubertus Butin, ed., Gerhard Richter: Editions 1965 - 2004 Catalogue Raisonné, Ostfildern, 2004, no. 111 (illustrated)

Marian Goodman Gallery, New York
Acquired from the above by the present owner

About Gerhard Richter

Gerhard Richter is known for a prolific and stylistically varied exploration of the medium of painting, often incorporating and exploring the visual effects of photography. “I like everything that has no style: dictionaries, photographs, nature, myself and my paintings,” he says. “Because style is violent, and I am not violent.” In the early 1960s, Richter began to create large-scale photorealist copies of black-and-white photographs rendered in a range of grays, and innovated a blurred effect (sometimes deemed “photographic impressionism”) in which portions of his compositions appear smeared or softened—paradoxically reproducing photographic effects and revealing his painterly hand. With heavily textured abstract gray monochromes, Richter introduced abstraction into his practice, and he has continued to move freely between figuration and abstraction, producing geometric “Colour Charts”, bold, gestural abstractions, and “Photo Paintings” of anything from nudes, flowers, and cars to landscapes, architecture, and scenes from Nazi history. Richter absorbed a range of influences, from Caspar David Friedrich and Roy Lichtenstein to Art Informel and Fluxus.

German, b. 1932, Dresden, Germany, based in Cologne, Germany