Gerhard Richter, ‘Spiegel, blutrot (Mirror, Blood Red)’, 1991, San Francisco Museum of Modern Art (SFMOMA)

Image rights: © Gerhard Richter

San Francisco Museum of Modern Art, purchase through a gift of the Clinton Walker Fund, in recognition of the appointment of David Ross as the Director of the San Francisco Museum of Modern Art, and the Accessions Committee Fund: gift of Shawn and Brook Byers, Doris and Donald G. Fisher, Mimi and Peter Haas, Patricia and Raoul Kennedy, Vicki and Kent Logan, Leanne B. Roberts, Helen and Charles Schwab, Norah and Norman Stone, Judy and John Webb, and Pat and Bill Wilson

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