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Auktionsarchiv: Los-Nr. 40

Gerhard Richter

Schätzpreis
1.200.000 $ - 1.800.000 $
Zuschlagspreis:
1.384.000 $
Auktionsarchiv: Los-Nr. 40

Gerhard Richter

Schätzpreis
1.200.000 $ - 1.800.000 $
Zuschlagspreis:
1.384.000 $
Beschreibung:

Gerhard Richter Drei Grau übereinander (Three greys one upon the other) 1966/84 Oil and enamel on canvas. 78 3/4 x 59 in. (200 x 149.9 cm). Signed, numbered and dated “Richter 1966 (Richter 1984) 143-3” on the reverse.
Provenance Acquired directly from the artist; Private collection, Cologne Literature D. Honisch, ed., Gerhard Richter Biennale di Venezia, Padiglione tedesco, Essen, 1972, p. 60 (illustrated in black and white); J. Hartenn, ed., Gerhard Richter Bilder 1962-1985, Düsseldorf/Cologne, 1986, p. 60 (illustrated in black and white); B. H. D. Buchloh, P. Gidal, and B. Pelzer, Gerhard Richter Werkübersicht/ Catalogue Raisonné 1962-1993, vol. III, Bonn, 1993, p. 16 (illustrated) and p. 153; D. Elger, Gerhard Richter Maler, Cologne, 2002, p. 196 Catalogue Essay “I do not pursue any particular intentions, system, or direction. I do not have a programme, a style, a course to follow. I have brought not being interested in specialist problems, working themes, in variations toward mastery. I shy away from all restrictions, I do not know what I want, I am I inconsistent, indifferent, passive; I like things that are indeterminate and boundless, and I like persistent uncertainty. Other qualities promote achievement, acquisition, success, but they are as superseded as ideologies, views, concepts and names for things. Now that we do not have priests and philosophers any more, artists are the most important people in the world. That is the only thing that interests me.” (Gerhard Richter artist statement from 1966, taken from N. Serota, ed., Gerhard Richter London, 1992, p. 109). In the history of Gerhard Richter’s painterly career, the artist has focused on the very tenets that underlie the twentieth century’s critical art movements. First and foremost a painter, Richter has been a prolific literary artist as well, ascribing his own art to theoretical writings and publications that help us to define his unique approaches within the scope of postmodern art. He is a consummate self-critical artist, aware that each on occasion he engages his viewer and creates a new paradigm to view his artwork. His career has traversed from the early Capitalist Realist pictures in the early 1960s to the Abstrakt Bilder works of recent years . The artist works in these various series with a volte face existence, so that on every juncture a new set of laws exists. While ascribing to the distinct tenets of the artistic movement he references, Richter deliberates between fully ascribing to merely alluding, ultimately basing his own work off the parameters these styles set and not allowing their whole influence to define his artwork. In this way, the artist has remained uniquely visionary: adapting previous modicums to his own perfection. He exercises complete control and discretion over their influence on his own art. In 1966 Richter concluded his alluring Capitalist Realist series, in which photographs selected by him were repainted in black, white and grey. He wrote that he had completed this style of painting, and quickly looked to his personal life for inspiration. At the time, Richter was married to Ema Eufinger whose famous portrait Ema (Akt auf einer Treppe), 1966 consumed the artist in the first part of the year. Despite Richter’s use of real-life photographs and imagery, his relationship with his Pop-Art (American) counterparts remained loose. For Richter established a stronger connection to the metaphysical and shied away from the abstraction of any consumer culture or packaged world. Richter’s adaptation of photographs was also more obscured by his painterly touch, so in essence the artist was less concerned with identifying his subject than with the approach to capturing a certain aesthetic. In the latter part of 1966 Richter created his very first monochrome paintings. The present lot, Drei Grau übereinander, is from his series of three paintings which exhibit overlapping rectangles of shades of grey in a minimalist white grid. With Drei Grau übereinander, Richter investigates the vestiges of monochromatic painting’s history in twentieth century art. Implicit in the meaning of monochromatic painting is the theoretical approach to structuring the canvas

Auktionsarchiv: Los-Nr. 40
Auktion:
Datum:
17.05.2007
Auktionshaus:
Phillips
17 May 2007 7pm New York
Beschreibung:

Gerhard Richter Drei Grau übereinander (Three greys one upon the other) 1966/84 Oil and enamel on canvas. 78 3/4 x 59 in. (200 x 149.9 cm). Signed, numbered and dated “Richter 1966 (Richter 1984) 143-3” on the reverse.
Provenance Acquired directly from the artist; Private collection, Cologne Literature D. Honisch, ed., Gerhard Richter Biennale di Venezia, Padiglione tedesco, Essen, 1972, p. 60 (illustrated in black and white); J. Hartenn, ed., Gerhard Richter Bilder 1962-1985, Düsseldorf/Cologne, 1986, p. 60 (illustrated in black and white); B. H. D. Buchloh, P. Gidal, and B. Pelzer, Gerhard Richter Werkübersicht/ Catalogue Raisonné 1962-1993, vol. III, Bonn, 1993, p. 16 (illustrated) and p. 153; D. Elger, Gerhard Richter Maler, Cologne, 2002, p. 196 Catalogue Essay “I do not pursue any particular intentions, system, or direction. I do not have a programme, a style, a course to follow. I have brought not being interested in specialist problems, working themes, in variations toward mastery. I shy away from all restrictions, I do not know what I want, I am I inconsistent, indifferent, passive; I like things that are indeterminate and boundless, and I like persistent uncertainty. Other qualities promote achievement, acquisition, success, but they are as superseded as ideologies, views, concepts and names for things. Now that we do not have priests and philosophers any more, artists are the most important people in the world. That is the only thing that interests me.” (Gerhard Richter artist statement from 1966, taken from N. Serota, ed., Gerhard Richter London, 1992, p. 109). In the history of Gerhard Richter’s painterly career, the artist has focused on the very tenets that underlie the twentieth century’s critical art movements. First and foremost a painter, Richter has been a prolific literary artist as well, ascribing his own art to theoretical writings and publications that help us to define his unique approaches within the scope of postmodern art. He is a consummate self-critical artist, aware that each on occasion he engages his viewer and creates a new paradigm to view his artwork. His career has traversed from the early Capitalist Realist pictures in the early 1960s to the Abstrakt Bilder works of recent years . The artist works in these various series with a volte face existence, so that on every juncture a new set of laws exists. While ascribing to the distinct tenets of the artistic movement he references, Richter deliberates between fully ascribing to merely alluding, ultimately basing his own work off the parameters these styles set and not allowing their whole influence to define his artwork. In this way, the artist has remained uniquely visionary: adapting previous modicums to his own perfection. He exercises complete control and discretion over their influence on his own art. In 1966 Richter concluded his alluring Capitalist Realist series, in which photographs selected by him were repainted in black, white and grey. He wrote that he had completed this style of painting, and quickly looked to his personal life for inspiration. At the time, Richter was married to Ema Eufinger whose famous portrait Ema (Akt auf einer Treppe), 1966 consumed the artist in the first part of the year. Despite Richter’s use of real-life photographs and imagery, his relationship with his Pop-Art (American) counterparts remained loose. For Richter established a stronger connection to the metaphysical and shied away from the abstraction of any consumer culture or packaged world. Richter’s adaptation of photographs was also more obscured by his painterly touch, so in essence the artist was less concerned with identifying his subject than with the approach to capturing a certain aesthetic. In the latter part of 1966 Richter created his very first monochrome paintings. The present lot, Drei Grau übereinander, is from his series of three paintings which exhibit overlapping rectangles of shades of grey in a minimalist white grid. With Drei Grau übereinander, Richter investigates the vestiges of monochromatic painting’s history in twentieth century art. Implicit in the meaning of monochromatic painting is the theoretical approach to structuring the canvas

Auktionsarchiv: Los-Nr. 40
Auktion:
Datum:
17.05.2007
Auktionshaus:
Phillips
17 May 2007 7pm New York
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