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拍品专文
Gerhard Richter's 'Abstrakte Bilder' are made in several stages, with a softer background image overlaid with dramatic strokes and energetic gestures. He does not work like an Abstract Expressionist, but is rather more deliberate and conceptual in his painting process. Indeed, it is the artist's intention to disrupt, or deconstruct, painting and with this to enter into a new rhetoric of the medium.
"In their discontinuous narratives lies the ground for a moral dialogue between artist and audience that invites not acquiescience, but a creative and critical response to the world it depicts. Thus the heterogeneity of the work is also its truthfulness... The character of the Abstract Paintings is not their resolution but the dispersal of their elements, their coexisting contradictory expressions and moods, their opposition of promises and denials." (R. Nasgard, in: 'Gerhard Richter. Paintings', New York 1988, p. 110.)
Painted in 1992, Richter's 'Abstraktes Bild' is one of the most powerful works of his stacatto abstract style developed especially since the late 1980s. With its brilliant waves of colour and dynamic leaps and jumps of the spatula across the canvas, this painting is injected with an energy that is unsurpassed in works of this period.
Richter has often discussed his own working process in terms of music and musical composition. This is especially obvious in his large-scale abstract paintings. "Objects have too much importance," he argued already in 1985; "they give the painting a specific direction. Colour and structure are not given a chance to stand on their own. Because abstract painting does not represent - there is not a man or table or whatever - one must only make sure that the relationship of colour and structure is right, like composing music like Schnberg and Mozart." (G. Richter, in: 'An Interview' in: 'The Print Collector's Newsletter', vol. 16, Sept.-Oct. 1985, p. 123.)
'Abstraktes Bild' from 1992 epitomises these and other artistic concerns that have accompanied Richter's oeuvre throughout his career. For it is only in retrospect that we can assess the continuities which underly the photo-realist paintings, the romantic landscapes, the clouds and the abstract paintings which have successively, since the early 1960s, been the creative articulation of a desire to engage with what it means to be a painter at a time in which the practice of painting is itself constantly being called into question.
"In their discontinuous narratives lies the ground for a moral dialogue between artist and audience that invites not acquiescience, but a creative and critical response to the world it depicts. Thus the heterogeneity of the work is also its truthfulness... The character of the Abstract Paintings is not their resolution but the dispersal of their elements, their coexisting contradictory expressions and moods, their opposition of promises and denials." (R. Nasgard, in: 'Gerhard Richter. Paintings', New York 1988, p. 110.)
Painted in 1992, Richter's 'Abstraktes Bild' is one of the most powerful works of his stacatto abstract style developed especially since the late 1980s. With its brilliant waves of colour and dynamic leaps and jumps of the spatula across the canvas, this painting is injected with an energy that is unsurpassed in works of this period.
Richter has often discussed his own working process in terms of music and musical composition. This is especially obvious in his large-scale abstract paintings. "Objects have too much importance," he argued already in 1985; "they give the painting a specific direction. Colour and structure are not given a chance to stand on their own. Because abstract painting does not represent - there is not a man or table or whatever - one must only make sure that the relationship of colour and structure is right, like composing music like Schnberg and Mozart." (G. Richter, in: 'An Interview' in: 'The Print Collector's Newsletter', vol. 16, Sept.-Oct. 1985, p. 123.)
'Abstraktes Bild' from 1992 epitomises these and other artistic concerns that have accompanied Richter's oeuvre throughout his career. For it is only in retrospect that we can assess the continuities which underly the photo-realist paintings, the romantic landscapes, the clouds and the abstract paintings which have successively, since the early 1960s, been the creative articulation of a desire to engage with what it means to be a painter at a time in which the practice of painting is itself constantly being called into question.