Ekstrem realisme

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter, Maler gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

In Was die Bilder erzählen, the German essayist Dieter Wellershoff presents a tour through an imaginary museum. He introduces over 230 paintings, by some 80 artists from a range of different epochs, spanning the last 500 years.

A significant section is devoted to Gerhard Richter. In his discussion of Richter’s art, Wellershoff focuses on the artist’s versatility, which he attributes to his “experimental curiosity”, as well as to his “pluralistic world experience”.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter, Maler gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

This edition of the biography Gerhard Richter, Maler published in 2008 was slightly revised to include details of more recent events in Richter’s life.

Gerhard Richter has been widely regarded as a publicity shy artist. However, the biography Gerhard Richter. A Life in Painting gives an insight into Richter’s personal history as well as into the development of his artistic œuvre.
Besides an evaluation of numerous letters and material from the Gerhard Richter archive, the book includes conversations with the artist as well as several of his contemporaries. Dietmar Elger, director of the Gerhard Richter Archive, describes Richter’s daily studio routine and his creative process. Thanks to detailed background information, this book contributes to an understanding of Richter’s art in connection with his life.

This English translation of the biography Gerhard Richter, Maler by Dietmar Elger, published in 2009, was slightly revised for the Anglophone reader.

Exhibition catalogue by Roald Nasgaard, with an essay by I. Michael Danoff, and an interview with Gerhard Richter by Benjamin H. D. Buchloh, edited by Terry A. Neff.

Exhibitions:
Art Gallery of Ontario, Toronto, April 29, 1988 to July 10, 1988;
Museum of Contemporary Art, Chicago, September 17, 1988 to November 27, 1988;
Hirshhorn Museum and Sculpture Garden, Washington, D.C., December 14, 1988 to February 12, 1989;
San Francisco Museum of Modern Art, March 15, 1989 to May 28, 1989.

Three-volume box set.

Vol. 1: Illustrated works in exhibition. This volume (196 pp) contains approximately 92 four-colour and black and white plates (272 total works reproduced), a complete catalogue of the retrospective exhibition, and an introduction, word of greeting and preface (in German) by Suzanne Pagé, Wenzel Jacob and Björn Springfeldt, respectively.

Vol. 2: Texts by Benjamin H. D. Buchloh, Peter Gidal, and Birgit Pelzer, with numerous black and white reference illustrations (112 pp).

Vol. 3: Catalogue Raisonné of Richter's paintings and sculptures from 1962-1993, with numerous four-colour and black and white plates (approximately 2,000 total works reproduced), a complete Catalogue Raisonné of Richter's work, a list of works and information on the list of works. Includes a biography, exhibition history, selected texts (bibliography) and selected films (in German).

 

Catalogue accompanying the exhibition Gerhard Richter. Landschaften at Sprengel Museum Hannover, Hanover, Germany (October 4, 1998 – January 3, 1999).

As a classic theme in painting Richter has drawn landscapes since 1968 when they first appeared as an independent work group in his oeuvre. Like no other motif, landscapes have occupied Richter over a long period. This volume affords an unparalleled insight into Richter's landscape paintings, in which landscape and abstraction are not opposed to each other, but appear instead as intertwined strands in the painter's view and his experience of reality.

Catalogue accompanying the exhibition Gerhard Richter. Landschaften at Sprengel Museum Hannover, Hanover, Germany (October 4, 1998 – January 3, 1999).

As a classic theme in painting Richter has drawn landscapes since 1968 when they first appeared as an independent work group in his oeuvre. Like no other motif, landscapes have occupied Richter over a long period. This volume affords an unparalleled insight into Richter's landscape paintings, in which landscape and abstraction are not opposed to each other, but appear instead as intertwined strands in the painter's view and his experience of reality.

This catalogue raisonné records Richter’s works in the years 1999-2004.

In his work, Gerhard Richter calls into question painting's boundaries, and the labels applied to painting and theories connected with them. In his pictures based on photographs - blurred overpaintings, grey paintings, and landscape and abstract compositions - he makes clear that nothing perceived by our senses can ever be found in a picture. The outer world is not portrayable and the inner one resists any comparison. While his painted works based on photographs illustrate painting's superiority, his glass works - glass panes, paintings on glass, mirrors and sculptures - question the interaction of viewer and picture and, like the paintings, offer a window onto the world. This publication takes account of all the important stages of Richter's oeuvre.

This catalogue raisonné records Richter’s works in the years 1993-2004.

In his work, Gerhard Richter calls into question painting's boundaries, and the labels applied to painting and theories connected with them. In his pictures based on photographs - blurred overpaintings, grey paintings, and landscape and abstract compositions - he makes clear that nothing perceived by our senses can ever be found in a picture. The outer world is not portrayable and the inner one resists any comparison. While his painted works based on photographs illustrate painting's superiority, his glass works - glass panes, paintings on glass, mirrors and sculptures - question the interaction of viewer and picture and, like the paintings, offer a window onto the world. This publication takes account of all the important stages of Richter's oeuvre.

Hyper Real is a catalogue that was published to coincide with the exhibitions of the Irene und Peter Ludwig Foundation in Vienna, Aachen and Budapest. Irene and Peter Ludwig were amongst the first to collect photorealist works of art. For the first time in history, a complete inventory of their photorealist collection is examined.

The essays address the connection between painting and photography and the reference of art to reality is discussed with regards to photography. This has been the case with Gerhard Richter especially, who frequently used photographic source images for his paintings. The catalogue discusses some of Gerhard Richter’s landscapes.

With a foreword by Brigitte Franzen and Edelbert Köb and contributions by Susanne Neuburger, Benedikt Ledebur, Jean-Christophe Ammann, Brigitte Franzen and Monika Farber.