Gerhard Richter Painting Reviews
Gerhard Richter, born in 1932, Germany, has a multi-layered history revolving around the second world war, dissection of Berlin, living in a politically -charged environment; his work is autobiographical on many levels. His influences are vast, from iconic Joseph Beuys, John Cage, American documentary photography (especially of WWII); he is assiduously devoted to his own moral aesthetic; like Les Nabis, prophetic in his vision.
Materials: cadmium, lemon yellow, black/white/gray tubes of paint, layered on squeegees up to six feet long; meticulously applied to canvasses; his empowered hand has a will of its own, oftentimes he is shocked with the results. Following his instincts, his masterpieces spring to life; addictive and subtractive techniques, dazzling the viewer.
He is an extremely private person, a curmudgeon and highly uncomfortable being filmed while working; but warm and genuine with his dealer Marian Goodman, a partnership stretching from the eighties, their mutual bond, palpable.
Truly enlightening is Richter's grasp and use of contemporary technology in his creative process; over eighty, his present works are informed by digitalization; there are no roadblocks or parameters capable of stunting his remarkable gift.
"Gerhard Richter Painting" glows and reminds one of Percy Bysshe Shelley's poem: "I am Ozymandius, King of Kings, look upon my works, ye mighty, and despair"; despairing at the ephemeral element of art, but exhilarated that Gerhard Richter has accomplished what few mortals have attempted.
Did it add anything to my faculties? No, just the realization that often learning the trick behind the magic ruins it. And Richter's magic has been ruined for me; thank you very much!