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Dead 1988 Catalogue Raisonné: 667-1

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Dead 1988 Catalogue Raisonné: 667-3

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Dead 1963 Catalogue Raisonné: 9

Biography 2 Results

1964–1970: Getting Established

Towards the end of his studies at the Düsseldorf Academy, Richter had laid the foundations for his practice, setting up an interchange between photography and painting that was to be equally important for him as for later art-historical accounts of the Post-War period. Just before the end of term in 1964, Munich-based gallerist Heiner Friedrich invited Richter to feature in an exhibition alongside Peter Klasen. This proved to be a fruitful relationship over the next eight years, involving[...]

The 1970s: Exploring Abstraction

As the 1970s began, Richter's career was gathering momentum and his international reputation had started to rise. In the spring of 1970 he exhibited with Konrad Fischer, who, since their time together at the Düsseldorf Academy, had become a successful gallerist.53 Fischer's gallery was at the cutting edge of contemporary art during this time, focusing on Minimalism, Conceptualism and Formalism (exhibiting artists like Carl Andre, Bruce Nauman, Fred Sandback, On Kawara, Richard Long and[...]

Chronology 1 Result

Chronology

1932: 9 February: Gerhard Richter is born in Dresden to Hildegard Richter, a bookseller, and Horst Richter, a school teacher.

1933: 30 January: Adolf Hitler becomes Chancellor.

1936: the Richter family moves to Reichenau, a town close to Dresden, today known as Bogatynia in Poland. Richter's sister Gisela is born.

1939: 1 September: the German invasion of Poland begins; Horst is drafted in to the military and sent to the Eastern Front.

1942: Richter joins the Pimpfe, an organisation that[...]

Quotes 3/5 Results Show all results

What about the Alpine Pictures and the Townscapes?
Those were done when I no longer felt like doing the figurative photo-pictures, and wanted a change from the unequivocal statement, the legible and limited narrative. So I was attracted by those Dead cities and Alps, which in both cases were stony wastes, arid stuff. It was an attempt to convey content of a more universal kind.

Interview with Benjamin H. D. Buchloh, 1986, 1986 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 14

I wanted to say something different: the pictures are also a leave-taking, in several respects. Factually: these specific persons are Dead; as a general statement, death is leave-taking. And then ideologically: a leave-taking from a specific doctrine of salvation and, beyond that, from the illusion that unacceptable circumstances of life can be changed by this conventional expedient of violent struggle (this kind of revolutionary thought and action is futile and passé).

Notes, 1989, 1989 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 14

The ones that weren't paintable were the ones I did paint. The Dead. To start with, I wanted more to paint the whole business, the world as it then was, the living reality – I was thinking in terms of something big and comprehensive. But then it all evolved quite differently, in the direction of death. And that's really not all that unpaintable. Far from it, in fact. Death and suffering have always been an artistic theme. Basically, it's the theme. We've eventually managed to wean ourselves away from it, with our nice, tidy lifestyle.

Conversation with Jan Thorn-Prikker concerning the 18 October 1977 cycle, 1989, 1989 SOURCE

Gerhard Richter: Text. Writings, Interviews and Letters 1961–2007, Thames & Hudson, London, 2009, p. 14