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Gerhard Richter

Prisma I (Prism I), 2002

Heavy flint glass prism, in the original dark gray cloth-lined presentation case
1 7/10 × 1 7/10 × 6 1/2 in
4.4 × 4.4 × 16.5 cm
Bidding closed
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About the work
Bibliography
P
Phillips
Signature
Signed and numbered 10/80 in black ink (there were also 20 artist's proofs in Roman numerals)
Publisher
Deutsche Guggenheim, Berlin
Gerhard Richter
German, b. 1932
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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.

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share
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About the work
Bibliography
P
Phillips
Signature
Signed and numbered 10/80 in black ink (there were also 20 artist's proofs in Roman numerals)
Publisher
Deutsche Guggenheim, Berlin
Gerhard Richter
German, b. 1932
Follow

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.

Gerhard Richter

Prisma I (Prism I), 2002

Heavy flint glass prism, in the original dark gray cloth-lined presentation case
1 7/10 × 1 7/10 × 6 1/2 in
4.4 × 4.4 × 16.5 cm
Bidding closed
Want to sell a work by this artist? Consign with Artsy.
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