Gerhard Richter Domecke I (Cathedral Corner I) 1998 Cibachrome print, mounted between Plexiglas (as issued), the full sheet, 78 x 55 x 2 cm (30 3/4 x 21 5/8 x 3/4 in.) signed, dated '1998' and numbered 9/60 in black felt-tip pen on the reverse (there were also 6 artist's proofs in Roman numerals), published by the artist, unframed.
Literature Hubertus Butin 97 Artist Bio Gerhard Richter German • 1932 Powerhouse painter Gerhard Richter has been a key player in defining the formal and ideological agenda for painting in contemporary art. His instantaneously recognizable canvases literally and figuratively blur the lines of representation and abstraction. Uninterested in classification, Richter skates between unorthodoxy and realism, much to the delight of institutions and the market alike. Richter's color palette of potent hues is all substance and "no style," in the artist's own words. From career start in 1962, Richter developed both his photorealist and abstracted languages side-by-side, producing voraciously and evolving his artistic style in short intervals. Richter's illusory paintings find themselves on the walls of the world's most revered museums—for instance, London’s Tate Modern displays the Cage (1) – (6), 2006 paintings that were named after experimental composer John Cage and that inspired the balletic 'Rambert Event' hosted by Phillips Berkeley Square in 2016. View More Works
Gerhard Richter Domecke I (Cathedral Corner I) 1998 Cibachrome print, mounted between Plexiglas (as issued), the full sheet, 78 x 55 x 2 cm (30 3/4 x 21 5/8 x 3/4 in.) signed, dated '1998' and numbered 9/60 in black felt-tip pen on the reverse (there were also 6 artist's proofs in Roman numerals), published by the artist, unframed.
Literature Hubertus Butin 97 Artist Bio Gerhard Richter German • 1932 Powerhouse painter Gerhard Richter has been a key player in defining the formal and ideological agenda for painting in contemporary art. His instantaneously recognizable canvases literally and figuratively blur the lines of representation and abstraction. Uninterested in classification, Richter skates between unorthodoxy and realism, much to the delight of institutions and the market alike. Richter's color palette of potent hues is all substance and "no style," in the artist's own words. From career start in 1962, Richter developed both his photorealist and abstracted languages side-by-side, producing voraciously and evolving his artistic style in short intervals. Richter's illusory paintings find themselves on the walls of the world's most revered museums—for instance, London’s Tate Modern displays the Cage (1) – (6), 2006 paintings that were named after experimental composer John Cage and that inspired the balletic 'Rambert Event' hosted by Phillips Berkeley Square in 2016. View More Works
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
.jpg "Source: Christie's")
