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拍品專文
Abstraktes Bild (Tower 5) is one of the group of fourteen abstract paintings known as 'The London Paintings' which Richter painted for an exhibition held at the Anthony d'Offay Gallery in London in 1988. In a rare move for the artist, he gave these works titles, most of which refer to two London landmarks, Westminster Abbey and, in the case of this work, the Tower of London.
For Richter, abstract paintings are 'fictive models' that 'make visible a reality that we can neither see nor describe, but whose existence we can postulate.' The significance of bestowing titles on his abstract paintings is therefore, largely arbitrary and refers, in the case of the 'London Paintings' only in a general and associative way to the artist's experiences of the city and in particular the various chapels of Westminster Abbey and the towers of the Tower of London.
Of the nine 'Tower' paintings in the series, each exhibits a strong sense of both monumentality and verticality in the way that the colours have been brushed and squeegeed onto the canvas. Outside of this common feature, and one perhaps appropriate to its title, each work pursues is own innate nature in the manner of all Richter's abstract paintings. It is important for Richter that his abstract paintings do not adhere to an pre-conceived or conventional pattern of form. Towards this end much of his work involves the destruction of convention, habit and artistry so that the work itself asserts a new and unrecognisable reality - a reality of contradictions and extremes. In this way, Richter is able to see these paintings as 'metaphors in their own right' and as '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 interview with B. H. D. Buchloh 1986, reproduced in Gerhard Richter-The Daily Practice of Painting: Writings 1962-1993, Boston 1995, p. 166).
For Richter, abstract paintings are 'fictive models' that 'make visible a reality that we can neither see nor describe, but whose existence we can postulate.' The significance of bestowing titles on his abstract paintings is therefore, largely arbitrary and refers, in the case of the 'London Paintings' only in a general and associative way to the artist's experiences of the city and in particular the various chapels of Westminster Abbey and the towers of the Tower of London.
Of the nine 'Tower' paintings in the series, each exhibits a strong sense of both monumentality and verticality in the way that the colours have been brushed and squeegeed onto the canvas. Outside of this common feature, and one perhaps appropriate to its title, each work pursues is own innate nature in the manner of all Richter's abstract paintings. It is important for Richter that his abstract paintings do not adhere to an pre-conceived or conventional pattern of form. Towards this end much of his work involves the destruction of convention, habit and artistry so that the work itself asserts a new and unrecognisable reality - a reality of contradictions and extremes. In this way, Richter is able to see these paintings as 'metaphors in their own right' and as '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 interview with B. H. D. Buchloh 1986, reproduced in Gerhard Richter-The Daily Practice of Painting: Writings 1962-1993, Boston 1995, p. 166).