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Flickr. Belem, Berardo Collection, Centro Cultural de Belem, Lisbon, Portugal Materials : Oil on canvas BIOGRAPHY FROM WIKIPEDIA, THE FREE ENCYCLOPAEDIA Gerhard Richter (German: [ˈʀɪçtɐ]; born 9 February 1. German visual artist and one of the pioneers of the New European Painting that emerged in the second half of the twentieth century. Richter has produced abstract as well as photorealistic paintings, and also photographs and glass pieces.
His art follows the examples of Picasso and Jean Arp in undermining the concept of the artist's obligation to maintain a single cohesive style. In October 2. Richter's Abstraktes Bild set an auction record price for a painting by a living artist at $3. This was exceeded in May 2. Domplatz, Mailand (Cathedral square, Milan) was sold for $3.
New York. This was further exceeded in February 2. Abstraktes Bild sold for $4. London at Sotheby's Contemporary Evening Sale. CHILDHOOD AND EDUCATION Richter was born in Hospital Dresden- Neustadt in Dresden, Saxony, and grew up in Reichenau, Lower Silesia (now Bogatynia, Poland), and in Waltersdorf (Zittauer Gebirge), in the Upper Lusatian countryside, where his father worked as a village teacher. Gerhard's mother, Hildegard Schönfelder, at the age of 2. Gerhard. Hildegard's father, Ernst Alfred Schönfelder, at one time was considered a gifted pianist. Ernst moved the family to Dresden after taking up the family enterprise of brewing and eventually went bankrupt. Once in Dresden, Hildegard trained as a bookseller, and in doing so realized a passion for literature and music.
Gerhard's father, Horst Richter, was a mathematics and physics student at the Technische Hochschule in Dresden. The two were married in 1. After struggling to maintain a position in the new Nationalist Socialist education system, Horst found a position in Reichenau.
In Reichenau, Gerhard's younger sister, Gisela was born in November 1. Horst and Hildegard were able to remain primarily apolitical due to Reichenau's location in the countryside. Horst, being a teacher, was eventually forced to join the National Socialist Party. He never became an avid supporter of Nazism, and was not required to attend party rallies. In 1. 94. 2, Gerhard was conscripted into the Deutsches Jungvolk, but by the end of the war he was still too young to be an official member of the Hitler Youth. In 1. 94. 3 Hildegard moved the family to Waltersdorf, and was later forced to sell her piano.
He left school after 1. Dresden Academy of Fine Arts. In 1. 94. 8, he finished higher professional school in Zittau, and, between 1.
In 1. 95. 0, his application for study at the Dresden Academy of Fine Arts was rejected as "too bourgeois". He finally began his studies at the Dresden Academy of Fine Arts in 1. Fading Of The Cries Movie Watch Online. Watch Roadkill Online. His teachers were Karl von Appen, Heinz Lohmar (de) and Will Grohmann. RELATIONSHIPS In 1.
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Richter resettled from Düsseldorf to Cologne, where he still lives and works today. In 1. 99. 6, he moved into a studio designed by architect Thiess Marwede. Richter married Marianne Eufinger in 1. He married his second wife, the sculptor Isa Genzken, in 1. Richter had a son and daughter with his third wife, Sabine Moritz after they were married in 1. EARLY CAREER In the early days of his career, he prepared a wall painting (Communion with Picasso, 1. Academy of Arts as part of his B. A. Another mural entitled Lebensfreude (Joy of life) followed at the German Hygiene Museum for his diploma.
It was intended to produce an effect "similar to that of wallpaper or tapestry". Both paintings were painted over for ideological reasons after Richter escaped from East to West Germany two months before the building of the Berlin Wall in 1. After German reunification two "windows" of the wall painting Joy of life (1.
German Hygiene Museum, but these were later covered over when it was decided to restore the Museum to its original 1. From 1. 95. 7 to 1. Richter worked as a master trainee in the academy and took commissions for the then state of East Germany.
During this time, he worked intensively on murals like Arbeiterkampf (Workers' struggle), on oil paintings (e. East German actress Angelica Domröse and of Richter's first wife Ema), on various self- portraits and on a panorama of Dresden with the neutral name Stadtbild (Townscape, 1. When he escaped to West Germany, Richter began to study at the Kunstakademie Düsseldorf under Karl Otto Götz. With Sigmar Polke and Konrad Fischer (de) (pseudonym Lueg) he introduced the term Kapitalistischer Realismus (Capitalistic Realism) as an anti- style of art, appropriating the pictorial shorthand of advertising. This title also referred to the realist style of art known as Socialist Realism, then the official art doctrine of the Soviet Union, but it also commented upon the consumer- driven art doctrine of western capitalism. Richter taught at the Hochschule für bildende Künste Hamburg and the Nova Scotia College of Art and Design as a visiting professor; he returned to the Kunstakademie Düsseldorf in 1.
ART Nearly all of Richter's work demonstrates both illusionistic space that seems natural and the physical activity and material of painting—as mutual interferences. For Richter, reality is the combination of new attempts to understand—to represent; in his case, to paint—the world surrounding us. Richter's opinions and perspectives on his own art, and that of the larger art market and various artistic movements, are compiled in a chronological record of "Writings" and interviews. The following quotes are excerpts from the compilation: "I am a Surrealist."[1. My sole concern is the object.
Otherwise I would not take so much trouble over my choice of subjects; otherwise I would not paint at all."[1. My concern is never art, but always what art can be used for."[1.
Photo- paintings and the "blur"[edit] Richter's 1. Betty (depicting his daughter) at Neue Nationalgalerie, Berlin in 2. Richter created various painting pictures from black- and- white photographs during the 1. Helga Matura (1. 96. Cityscape Madrid (1. Alps (1. 96. 8)); seascapes (1.
German Pavilion in the 1. Venice Biennale. For Forty- eight Portraits (1. Gustav Mahler and Jean Sibelius, and of writers such as H. G. Wells and Franz Kafka.[1. From his "Writings", the following refer to quotations regarding photography, its relationship with painting, and the "blur": "The photograph is the most perfect picture. It does not change; it is absolute, and therefore autonomous, unconditional, devoid of style.
Both in its ways of informing, and in what it informs of, it is my source."[2. I don't create blurs.
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Blurring is not the most important thing; nor is it an identity tag for my pictures. When I dissolve demarcations and create transition, this is not in order to destroy the representation, or to make it more artistic or less precise. The flowing transitions, the smooth equalizing surface, clarify the content and make the representation credible (an "alla prima" impasto would be too reminiscent of painting, and would destroy the illusion)."[2. I blur things to make everything equally important and equally unimportant. I blur things so that they do not look artistic or craftsmanlike but technological, smooth and perfect.
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I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information."[2. Many of these paintings are made in a multi- step process of representations. He starts with a photograph, which he has found or taken himself, and projects it onto his canvas, where he traces it for exact form.
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