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拍品专文
"Art is the pure realisation of religious feeling, capacity for faith, longing for God. All other realisations of these, outstanding human qualities, abuse those qualities by exploiting them; that is, by serving an ideology. Even art becomes 'applied art' just as soon as it gives up its freedom from function and sets out to convey a message. Art is human only in the absolute refusal to make a statement. The ability to believe is our outstanding quality, and only art adequately translates it into reality. But when we assuage our need for faith with an ideology, we court disaster." (G. Richter, 'Notes', 1988, reprinted in: H.-U. Obrist (ed.), Gerhard Richter. The Daily Practice of Painting, London 1995, p.170.)
Richter's abstract paintings are a physical and painterly manifestation of the artist's belief in art as mankind's "highest form of hope". They are paintings that adhere to no known logic or ideology but are created through a careful cumulative and constructive process during which Richter deliberately avoids all conventional rules of aesthetics in order to arrive at work that belies pictorial ideology. "I can... see my abstracts as metaphors," Richter has said; they are "pictures that are about a possibility of coexistence. Looked at in this way, all that I am trying to do in each picture is to bring together the most disparate and mutually contradictory elements, alive and viable, in the greatest possible freedom. No Paradises." (G. Richter in an interview with Benjamin Buchloh, 1986, reprinted in: Gerhard Richter. Writings 1962 -93, p.166.)
Seeking to generate "a pictorial quality that the intelligence cannot fabricate," Richter attempts to convey a sense of possibility, of hope even, through the creation of these impossible painterly conglomerations of abstract form and colour. The very fact that he is still painting these kind of pictures is of course, in itself also a statement of hope, but he evades any sense of sentiment or ideology by ensuring that each mark he makes on the canvas is unique and independent from the other. The construction of these paintings is a continuously willed process of the avoidance of slipping into any pattern of repetition or system with the conscious aim of creating a cohesive unity out of the elements' own disparity and non-cohesiveness.
In Abstraktes Bild - one of a series of four vermilion square paintings of the same size that Richter painted in 1991 - the overall uniformity of the predominantly flat bands of colour echoes the strong sense of surface that pervades Richter's Mirrors, which the artist exhibited at the Anthony D'Offay Gallery in London the same year. Like the Mirrors, and perhaps like Richter's later Rhombus series from 1998, the emphasis on the flatness of the painted surface in these abstract paintings reflects the inquisitiveness of the viewer's gaze and throws it back on itself asserting its own facticity and, like an impenetrable wall, warning,"No Paradises".
Richter's abstract paintings are a physical and painterly manifestation of the artist's belief in art as mankind's "highest form of hope". They are paintings that adhere to no known logic or ideology but are created through a careful cumulative and constructive process during which Richter deliberately avoids all conventional rules of aesthetics in order to arrive at work that belies pictorial ideology. "I can... see my abstracts as metaphors," Richter has said; they are "pictures that are about a possibility of coexistence. Looked at in this way, all that I am trying to do in each picture is to bring together the most disparate and mutually contradictory elements, alive and viable, in the greatest possible freedom. No Paradises." (G. Richter in an interview with Benjamin Buchloh, 1986, reprinted in: Gerhard Richter. Writings 1962 -93, p.166.)
Seeking to generate "a pictorial quality that the intelligence cannot fabricate," Richter attempts to convey a sense of possibility, of hope even, through the creation of these impossible painterly conglomerations of abstract form and colour. The very fact that he is still painting these kind of pictures is of course, in itself also a statement of hope, but he evades any sense of sentiment or ideology by ensuring that each mark he makes on the canvas is unique and independent from the other. The construction of these paintings is a continuously willed process of the avoidance of slipping into any pattern of repetition or system with the conscious aim of creating a cohesive unity out of the elements' own disparity and non-cohesiveness.
In Abstraktes Bild - one of a series of four vermilion square paintings of the same size that Richter painted in 1991 - the overall uniformity of the predominantly flat bands of colour echoes the strong sense of surface that pervades Richter's Mirrors, which the artist exhibited at the Anthony D'Offay Gallery in London the same year. Like the Mirrors, and perhaps like Richter's later Rhombus series from 1998, the emphasis on the flatness of the painted surface in these abstract paintings reflects the inquisitiveness of the viewer's gaze and throws it back on itself asserting its own facticity and, like an impenetrable wall, warning,"No Paradises".