GERhaRd RIC h TER Fondation Beyeler

Gerhard Ric H Ter Fondation Beyeler-Free PDF

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GERHARD RICHTER Introduction 4,PICTURES SERIEs,May 18 September 7 2014. ROOM 10 20,ROOM 11 21,ROOM 12 22,Information Catalogue 23. Room Plan 24, CAUTION Please do not touch the works of art Films. Two documentary films will be showing in the museum s. Winter Garden during the exhibition, Gerhard Richter Meine Bilder sind kl ger als ich 1992. Whenever this symbol appears on the exhibit labels 60 minutes by Viktoria von Flemming and. it means you will find the work of art discussed in detail Gerhard Richter Painting 2011 97 minutes. under the corresponding number in this guide by Corinna Belz. Introduction FOYER,GERHARD RICHTER 1 1024 Farben 1973.
1024 Colors, Gerhard Richter born in Dresden in 1932 based in Cologne. is one of the most important artists of our time In a career At the entrance to the exhibition visitors are greeted by a. spanning sixty years he has created an oeuvre of striking work that presents itself like a wall size color chart 1024. thematic and stylistic variety On show at the Fondation enamel squares are aligned next to and one on top of an. Beyeler are figurative works including portraits still lifes other in a strict geometric grid The colors were distributed. and landscapes and abstract paintings in which the artist using a random process but were mixed according to strict. draws on a large store of forms and colors Richter s work is rules As Gerhard Richter explains In order to represent all. notable for a fascinating interplay between abstraction and extant color shades in one painting I worked out a system. figuration original images and reproductions control and which starting from the three primaries plus grey made. chance as well as for a blurring of the distinctions between possible a continual subdivision differentiation through. painting photography digital printing and sculpture equal gradations 4 x 4 16 x 4 64 x 4 256 x 4 1024. The exhibition Pictures Series explores for the first time The multiplier 4 was necessary because I wanted to keep. works conceived as series cycles or interior environments the image size the square size and the number of squares. from all periods of Richter s career Single pictures some in a constant proportion to each other To use more than. of which have attained iconic status form a counterpoint to 1024 tones 4096 for instance seemed pointless since. the multiple images As visitors move from work to work and the difference between one shade and the next would no. from space to space they experience a constantly changing longer have been detectable. set of relationships between individual images serial works In spreading out before us all the nuances of color that. and the spatial surroundings our human eye is still physically able to perceive the artist. Richter has always produced series alongside individual offers us an impressive point of entry into the exhibition. works That applies to his earliest essays in painted photo In contrast with 1024 Colors two small paintings are also. realism to his abstract pictures to the pieces involving mirrors on show in the Foyer including a delicate subtly blurred. and other kinds of glass to his recent digital prints and to flower painting. his overpainted photographs Interested from the outset in. how his art is presented he has created several works for. specific locations In the 1950s he studied mural painting at. the Art Academy in Dresden Since then many sketches and. statements by him have testified to the crucial role played. by architectural contexts in his work That is such a dream. of mine that the pictures will become an environment or. become architecture, The exhibition has been realized in close cooperation with. the artist and organized by guest curator Hans Ulrich Obrist. in cooperation with Sam Keller Director and Michiko Kono. Associate Curator at the Fondation Beyeler,ROOM 1 ROOM 1. 2 S mit Kind 1995 3 Januar 1989,S and Child Dezember 1989. November 1989, The realistic portraits in this eight part cycle all center upon.
January December November, mother and child who present themselves to the viewer. from different sides at times in intimate close up The Opposite Gerhard Richter s intimate mother and child pic. paintings are based on personal photographs but at the tures are his monumental diptychs January December and. same time reveal links with the topos of the representation November which number among his most impressive ab. of the Virgin and Child and in their iconography and sub stract paintings of the late 1980s Created in 1989 they. ject bring into play the question of the relationship between represent the cold winter months as a triad so to speak. tradition and present Richter applied his paint among other things with a huge. Gerhard Richter worked on the surfaces to a varying extent squeegee a transparent acrylic blade used to scrape off ex. resulting in eight small pictures with differing textures cess paint The drag marks left by the squeegee are clearly. and degrees of abstraction According to the artist it is visible in all three paintings. the same as with a piece of music there are eight little Richter himself discovered parallels with music in his abstract. sequences soft ones brash ones whatever happens to oeuvre The composition of different forms colors struc. emerge The eight paintings are united by their intimate tures proportions harmonies etc comes out as an abstract. subject and belong firmly together as a group and yet the system analogous to music It is thus an artificial construct. quality of focus choice of angle and lighting mean that each as logical in its own terms as any natural one except that. portrait can be perceived as an independent stand alone it is not objective This system draws its life from analo. work gies with the appearance of nature but it would instantly. be destroyed if any object were identifiably represented. within it Not because the latter would make it too narrative. but because its explicitness would narrow the expression of. content and reduce everything around it to mere staffage. ROOM 2 ROOM 2 3, 4 Abstraktes Bild 1990 and ornaments With the continuing division into ever nar. Abstract Painting rower strips the vertical striations turn through 90 degrees. to horizontal At the latest with the division into 1024 the. Abstract Painting of 1990 is distinguished by its complex. eye can only register fine horizontal lines The legible marks. structure The overlaying of successive applications of paint. and structures of Abstract Painting have evaporated. results in constantly shifting impressions of spatial depth. These regularly seem to confound our eye which is like. wise dazzled by an infinite wealth of color nuances The. painting served Gerhard Richter as the starting point for his. artist s book Patterns Divided Mirrored Repeated 2011. 6 Overpainted photographs, which he subsequently drew upon in turn for the creation. of his Strip pictures 5 By applying the processes of Gerhard Richter s oeuvre includes a large number of photo. division mirroring and repetition Richter arrived at compo graphs overpainted with oil colors or enamels The artist values. sitions which formed the basis of large inkjet prints which the dialogue with photography and the multifaceted possibi. he mounted on aluminum and covered with Plexiglas The lities offered by the medium when its surface is first hidden. original work Abstract Painting was thereby completely and then rediscovered Sometimes the paint is merely. transformed and translated into a different state of aggre splashed onto the photograph or applied like a veil in thin in. gation places transparent smudges while at other times it forms an. opaque layer In these 48 works from the Museum Visit. 5 Strip 2013 series of 2011 the original photographs have been largely. concealed behind paint Only around the edges and between. The Strip pictures dominating the second room of the exhi. the abstract veils of color do the last vestiges of photographic. bition are attractive and at the same time irritating in their. reality still remain, effect They create a distinctly unusual visual experience. we see these powerful large scale works but our eye cannot. really land enter the picture or fix something within it. The horizontal strips of color seem to slide away from us. accelerating towards the left or right depending on where. we are standing in the room No one position is privileged. either in front of the picture or within it movement thus. becomes the central motif, The Strip series begun in 2011 is based on Richter s 1990.
Abstract Painting 4 A scan of this painting was split. vertically into two strips then into 4 8 16 32 64 128. 256 512 1024 2048 and finally 4096 The width of the. strips decreased as their number increased until each of. the 4096 individual strips was only 0 08 millimeters wide. Every strip was then mirrored vertically generating a new. image that was repeated until its total width was identical. with that of the original Abstract Painting The mirror im. ages initially produced patterns that resembled columns. ROOM 4 ROOM 4,7 Abstraktes Bild Rhombus 1998 8 Cage 2006. Abstract Painting Rhombus, With six large canvases Gerhard Richter has created an im. The six part cycle Abstract Painting Rhombus originated pressive cycle Cage The paintings reference each other. in conjunction with the project for the pilgrimage church in format and palette and likewise with regard to pictorial. designed by Renzo Piano in 1997 in the small town of San space Their animated surfaces exhibit scrapes and cracks. Giovanni Rotondo in Apulia in honor of Saint Pio of Pie and can vaguely call to mind landscapes or weathered walls. tralcina The paintings were supposed to be figurative In the abraded and fissured areas yellows reds and blues. and related to the life of Padre Pio the Franciscan Order testify to multiple underlying layers of paint The residues. and the stigmatization of the depicted saint I immediately of color shimmering through arouse a desire to remove the. said I didn t think I would succeed in this and couldn t accept topmost level in order to bring hidden marks back to light. the commission All I could do was to give something a try Detecting the lower layers is hampered by thick smudges. and then offer them the results of color and opaque areas that prevent us from penetrating. By connecting the corners of the diamond shaped canvas through to the chromatic colors. with a vertical and a horizontal line the shape of a cross is Gerhard Richter recalls that he was listening to the music. produced The powerful reds and oranges of the abstract of the American composer John Cage in his studio while. rhombuses are the cumulative effect of numerous layers of working on the Cage pictures The title of the cycle does. paint Fine gradations of hue and scattered patches of black not allude to any namable pictorial content however but. allow us to sense the presence of these underlying coats indicates that Richter recognized certain commonalities. Layering is a fundamental principle of Richter s working between his painterly creations and Cage s musical com. method and is employed in several of his cycles and series positions Through the use of various chance procedures. both artists withdraw the production of their works from. their conscious control and create space for spontaneous. and unpredictable outcomes,ROOM 4 ROOM 5,9 Seest ck 1975 10 Grau 1975. Seascape Gray,Eisberg im Nebel 1982, Iceberg in Mist The eight canvases in the Gray series form themselves into. an impressive environment They are arranged in such a way. The starting points for these mysterious landscapes were that they face the small portrait of Ella 11. photographs taken by Gerhard Richter himself In Seascape In the 1970s Richter experimented with color charts that is. the elements of water and sky are barely distinguishable one to say with strictly separate squares of color that he com. from another in the hazy atmosphere Only a band of mist on bined into geometric patterns as in the case of 1024 Colors. the horizon and a patch of blue sky on the upper left hand 1 He then began overlapping and overlaying his paints. edge of the canvas offer points of orientation In Iceberg in in the shape of his abstract pictures Richter continued this. Mist the transition between sea and cloud is defined some process to the point that his chromatic paints ultimately. what more clearly by the block of ice but the latter s true blended into a monochrome gray He sees the use of gray. scale and sheer massiveness remain hidden behind veils of not as a rejection of artistic creativity but on the contrary. fog These views of the open sea capture what otherwise as an experiment with its possible variations and specific. remains intangible the swell of the waves the drifting banks qualities To the question Why do you repudiate color. of mist and the dissolving and accumulation of clouds Richter replied Gray is a color and sometimes to me the. The original photographs behind these paintings were taken most important of all. in 1972 on a trip to Greenland which later provided an im The works from the Museum Abteiberg in M nchengladbach. portant stimulus for Richter s seascapes Looking at these mark the culmination of the phase in Richter s career in which. pictures we are transported to the middle of the Arctic he focused on monochrome gray paintings Through their. Gerhard Richter Meine Bilder sind kl ger als ich 1992 60 minutes by Viktoria von Flemming and Gerhard Richter Painting 2011 97 minutes by Corinna Belz CAUTION Please do not touch the works of art Whenever this symbol appears on the exhibit labels it means you will find the work of art discussed in detail under the corresponding number in this guide GERHaRD RICHTER PICTURES

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