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Auction archive: Lot number 20

Gerhard Richter

Estimate
£400,000 - £600,000
ca. US$568,678 - US$853,018
Price realised:
£449,000
ca. US$638,341
Auction archive: Lot number 20

Gerhard Richter

Estimate
£400,000 - £600,000
ca. US$568,678 - US$853,018
Price realised:
£449,000
ca. US$638,341
Beschreibung:

20 Gerhard Richter Abstraktes Bild 1978 oil on canvas 60 x 65 cm (23 5/8 x 25 5/8 in.) Signed, numbered and dated 'Richter 432/4 1978' on the reverse.
Provenance Galerie Fred Jahn, Munich Galerie Bernd Lutze, Friedrichshafen Galerie Löhrl, Mönchengladbach Hauser & Wirth, Zürich Private Collection, Switzerland Hauser & Wirth, Zürich Exhibited Halifax, Anna Leonowens Gallery, Gerhard Richter 17 Pictures, 4-18 July 1978 Eindhoven, Stedelijk van Abbemuseum, Gerhard Richter Abstract Paintings, 8 October-5 November 1978 and then travelled to London, Whitechapel Gallery (14 March- 22 April 1979) New York, Sperone Westwater Fischer Gallery, Gerhard Richter March-April 1980 Mannheim, Mannheimer Kunstverein, Abstrakte Bilder 1976 bis 1981, 18 April-16 May 1982 Munich, Galerie Fred Jahn, Abstrakte Bilder 1976 bis 1981, 3 June-26 July 1982 Naples, Galleria Lucio Amelio, Gerhard Richter March 1983 Friedrichshafen, Galerie Bernd Lutze, Abstrakte Bilder 1978-1984, 7 December 1984-4 January 1985 Zürich, Hauser & Wirth, Gerhard Richter Paintings 1964-1994, 28 October-23 December 1995 Literature H. Heere, Gerhard Richter – The Abstract Paintings, Bielefeld, 1982, pp. 14 and 20 (illustrated) Gerhard Richter Pictures/Paintings 1962-1985, Kunsthalle Dusseldorf, Dusseldorf, 1986, pp. 211 and 389 (illustrated) Gerhard Richter Paintings 1964-1994, exh. cat., Hauser & Wirth, Zürich, 1995 (illustrated, unpaged) H. Friedel, Reading Pictures - Possible Access to Gerhard Richter’s Atlas, Sakura City, 2001, p. 30 (illustrated) D. Elger, Gerhard Richter Catalogue Raisonné, vol. 3: 1976-1987, Ostfildern, 2013, no. 432-4, p.124 (illustrated) Catalogue Essay Painted in 1978, Abstraktes Bild is a vivid, spontaneous, and dynamic work of art that exudes movement and marks a pivotal transitional moment in Gerhard Richter’s career. Abstraktes Bild, signals the artist’s departure from figurative work as he transferred into the realm of abstraction. Richter’s method for creating this work adopted a technique of building up layers of paint using a method similar to a la prima meaning ‘wet on wet’. By painting sections and then blending the top layers with the undercoat, Richter began not only to explore the levels that could be created through impasto-like application but also to discover the effects that could be developed by adding carnation oil to the painting in order to keep the layers moist throughout the process. As each stage of the painting was completed, a new degree of abstraction was adopted, and this began one of the most important transformations for the artist’s technical approach to painting. Just as in previous works, Abstraktes Bild was developed by using ready-made images, yet Richter now chose to detach this work from the painterly modernistic mythology by which his previous works had been surrounded; he explained that now, 'the picture is the depiction, and painting is the technique for shattering it.' (G. Richter quoted in: Forty Years of Painting, exh. cat., Museum of Modern Art, New York, 2002, p. 69). In the late 1970s and early 1980s, Richter’s departure from figurative work was also in part precipitated by his associations with Benjamin Buchloh and Konrad Fisher. Together they brought him into a circle of conceptual artist and thinkers. It was then that Richter began to remove traces of figuration from his work and exchanged them for existential or transcendental ideas, articulated by a brilliant display of painterly techniques as aforementioned. These two elements transformed Richter’s work into an entity that conveys the idea that abstraction should not be judged by how its immediate appearance relates to recognizable social constructs, objects, or emotions but rather what the psychological impact of the composition, line, and form are; this work is about construction not expression. As Robert Storr explained, 'for eyes accustomed to emotionally heated Action Painting or exultant Color Field abstraction, Richter's masterful but abrupt cooling down of the rhetoric of Post-War art can be even more disconcerting than Pop or Minimalism because it seemed at first glance to have employ

Auction archive: Lot number 20
Auction:
Datum:
27 Jun 2016
Auction house:
Phillips
London
Beschreibung:

20 Gerhard Richter Abstraktes Bild 1978 oil on canvas 60 x 65 cm (23 5/8 x 25 5/8 in.) Signed, numbered and dated 'Richter 432/4 1978' on the reverse.
Provenance Galerie Fred Jahn, Munich Galerie Bernd Lutze, Friedrichshafen Galerie Löhrl, Mönchengladbach Hauser & Wirth, Zürich Private Collection, Switzerland Hauser & Wirth, Zürich Exhibited Halifax, Anna Leonowens Gallery, Gerhard Richter 17 Pictures, 4-18 July 1978 Eindhoven, Stedelijk van Abbemuseum, Gerhard Richter Abstract Paintings, 8 October-5 November 1978 and then travelled to London, Whitechapel Gallery (14 March- 22 April 1979) New York, Sperone Westwater Fischer Gallery, Gerhard Richter March-April 1980 Mannheim, Mannheimer Kunstverein, Abstrakte Bilder 1976 bis 1981, 18 April-16 May 1982 Munich, Galerie Fred Jahn, Abstrakte Bilder 1976 bis 1981, 3 June-26 July 1982 Naples, Galleria Lucio Amelio, Gerhard Richter March 1983 Friedrichshafen, Galerie Bernd Lutze, Abstrakte Bilder 1978-1984, 7 December 1984-4 January 1985 Zürich, Hauser & Wirth, Gerhard Richter Paintings 1964-1994, 28 October-23 December 1995 Literature H. Heere, Gerhard Richter – The Abstract Paintings, Bielefeld, 1982, pp. 14 and 20 (illustrated) Gerhard Richter Pictures/Paintings 1962-1985, Kunsthalle Dusseldorf, Dusseldorf, 1986, pp. 211 and 389 (illustrated) Gerhard Richter Paintings 1964-1994, exh. cat., Hauser & Wirth, Zürich, 1995 (illustrated, unpaged) H. Friedel, Reading Pictures - Possible Access to Gerhard Richter’s Atlas, Sakura City, 2001, p. 30 (illustrated) D. Elger, Gerhard Richter Catalogue Raisonné, vol. 3: 1976-1987, Ostfildern, 2013, no. 432-4, p.124 (illustrated) Catalogue Essay Painted in 1978, Abstraktes Bild is a vivid, spontaneous, and dynamic work of art that exudes movement and marks a pivotal transitional moment in Gerhard Richter’s career. Abstraktes Bild, signals the artist’s departure from figurative work as he transferred into the realm of abstraction. Richter’s method for creating this work adopted a technique of building up layers of paint using a method similar to a la prima meaning ‘wet on wet’. By painting sections and then blending the top layers with the undercoat, Richter began not only to explore the levels that could be created through impasto-like application but also to discover the effects that could be developed by adding carnation oil to the painting in order to keep the layers moist throughout the process. As each stage of the painting was completed, a new degree of abstraction was adopted, and this began one of the most important transformations for the artist’s technical approach to painting. Just as in previous works, Abstraktes Bild was developed by using ready-made images, yet Richter now chose to detach this work from the painterly modernistic mythology by which his previous works had been surrounded; he explained that now, 'the picture is the depiction, and painting is the technique for shattering it.' (G. Richter quoted in: Forty Years of Painting, exh. cat., Museum of Modern Art, New York, 2002, p. 69). In the late 1970s and early 1980s, Richter’s departure from figurative work was also in part precipitated by his associations with Benjamin Buchloh and Konrad Fisher. Together they brought him into a circle of conceptual artist and thinkers. It was then that Richter began to remove traces of figuration from his work and exchanged them for existential or transcendental ideas, articulated by a brilliant display of painterly techniques as aforementioned. These two elements transformed Richter’s work into an entity that conveys the idea that abstraction should not be judged by how its immediate appearance relates to recognizable social constructs, objects, or emotions but rather what the psychological impact of the composition, line, and form are; this work is about construction not expression. As Robert Storr explained, 'for eyes accustomed to emotionally heated Action Painting or exultant Color Field abstraction, Richter's masterful but abrupt cooling down of the rhetoric of Post-War art can be even more disconcerting than Pop or Minimalism because it seemed at first glance to have employ

Auction archive: Lot number 20
Auction:
Datum:
27 Jun 2016
Auction house:
Phillips
London
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