葛哈·李希特
葛哈·李希特 | |
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![]() 摄于2017年 | |
出生 | ![]() | 1932年2月9日
国籍 | ![]() |
教育程度 | 德累斯顿美术学院 杜塞尔多夫艺术学院 |
知名于 | 绘画、装置艺术 |
运动 | Capitalist realism |
葛哈·李希特 |
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葛哈·李希特(德语:Gerhard Richter,德语:[ˈʀɪçtɐ],1932年2月9日—)是一名德国视觉艺术家。作品形式包含抽象艺术、照相写实主义绘画、摄影及利用玻璃媒材等。他的在艺术概念上追随毕加索和让·阿尔普等人,创作形式多样而并非维持单一风格。
在2012年十月,李希特的一幅作品Abstraktes Bild 在拍卖会以3,400万美元拍出,创下在世艺术家拍卖的最高价纪录。[1] 2013年5月,另一件1986年名为Domplatz, Mailand (教堂广场,米兰)的作品以3,710万美元于纽约拍出。[2] 2015年2月Abstraktes Bild再度以4,452万美元于伦敦苏富比当代晚间拍卖中售出,频频打破自身纪录。[3]
个人生活
童年与教育
李希特出生于[4]萨克森州德累斯顿,并在下西里西亚的Reichenau(现在于波兰的博加蒂尼亚地区)及瓦尔特斯多夫,在上劳济茨的农村成长,上劳济茨是父亲担任教职的村庄。李希特的母亲生下他的时候正值25岁。 李希特的爷爷曾被认为有天分的钢琴家,不过之后经营家族酿酒事业,最终破产并举家迁至德累斯顿。李希特的母亲在德累斯顿受训成为书商,实践了她对文学及音乐的热爱。李希特的父亲当时为数学及物理系学生,父母于1931年结婚。[5]
父亲为了能在国家社会主义制度中安稳生活,在赖歇瑙(Reichenau)寻得一份教职,李希特的妹妹也在1936年11月于当地出生。因居住于乡间,李希特的父母一开始还能免于政治的压迫,并未参加聚会集会或是成为狂热的纳粹主义支持者。[6] ,不过身为一名教师,父亲最终还是加入了国家社会党。 1942年李希特被征召入德意志少年团,不过直至战争结束,他因年纪太轻并未成为希特勒青年团的正式成员。[7] 1943年,母亲举家搬到了瓦尔特斯多夫,并因生活所迫卖掉钢琴。[8] 李希特在10年级后离开学校,先在广告和舞台设置担任学徒,之后才进入德累斯顿美术学院就读。 在1948年,李希特完成了高等职业学校的学业后,1949年至1951年间,曾担任一位专业画家的学徒。[9] 1950年李希特于德累斯顿美术学院入学申请因“过于资产阶级”理由被拒。 直至1951年才终于在德累斯顿美术学院开始他的学业。成为阿潘(Karl von Appen)、亨氏·洛马尔(Heinz Lohmar)和威尔·葛罗曼(Will Grohmann)的学生。
婚姻
李希特在1957年与第一任妻子欧芬格尔(Marianne Eufinger)结婚; 生了第一个女儿。1982年再婚,第二任妻子为雕塑家伊萨·根泽肯(Isa Genzken)。于1995年与第三任妻子萨宾·莫里茨(Sabine Moritz)再婚,并育有一个儿子和女儿。
早期职业生涯
在他的职业生涯的早期,李希特因应毕业文凭B.A.(Bachelor of Arts)的要求为学院的厅堂制作了一幅壁画 与毕加索的圣餐 (1955)。另一幅壁画 生命之乐 则绘于德国德国卫生博物馆(German Hygiene Museum),以壁纸或挂毯的方式呈现。[10]
![](http://images.weserv.nl/?url=//upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Gerhard_Richter_by_Lothar_Wolleh.jpg/220px-Gerhard_Richter_by_Lothar_Wolleh.jpg)
这两件作品是在1961年李希特从东德逃往西德后所绘制,就在柏林墙筑起前的2个月,两件作品充满意识形态。在两德统一之后,于德国卫生博物馆墙上的 生命之乐 (1956)后来因该建筑重建,已不复见。1957年至1961年,李希特在学院中修习硕士,并接受当时的东德的委托创作。在这段时间里,李希特密集地创作包括壁画Arbeiterkampf (Workers' struggle),油画(如东德女演员安洁丽卡·多姆罗斯Angelica Domröse和李希特的第一任妻子小名为Ema的肖像),也不少肖像画及德累斯顿的全景风景画Stadtbild (Townscape, 1956)。
当他逃往西德后,李希特与艺术家西格马·波尔克(Sigmar Polke),哈·舒尔特(HA Schult) 库诺·龚休尔(Kuno Gonschior),汉斯·艾哈德瓦尔特(Hans Erhard Walther),卢埃格(Konrad Lueg),歌德哈特·高伯勒(Gotthard Graubner), 卡尔·奥托·格茨(Karl Otto Götz)一起于杜塞尔多夫艺术学院(Kunstakademie Düsseldorf )学习。与波尔克和菲舍尔(Konrad Fischer)相处时,以独创的词汇现实主义(Kapitalistischer)亦称为资本现实主义,作为一种反艺术风格,像是广告那样简化挪用词汇,不但提及了苏联官方崇尚的社会主义写实风格( Socialist Realism),同时批评西方资本主义倾向消费者的艺术。
李希特在汉堡的汉堡学院和新斯科舍艺术设计学院担任客座教授; 并于1971年回到杜塞尔多夫艺术学院担任教授超过15年。
1983年李希特从杜塞尔多夫搬到科隆,至今仍生活及工作于科隆,[11] 并于1996年搬进了由建筑师Thiess Marwede所设计的工作室。[12]
艺术
几乎所有李希特的作品,都借着绘画动作和媒材的相互扰动而成,呈现出虚幻的空间。对李希特来说,现实是一连串新尝试的组合,需要去被理解、去被 重现 ;就像他,去 画下围绕在身边现实的世界。李希特对自己的创作以及艺术市场和各种艺术运动的观点和看法,可从其写作和采访纪录当中得知,按照纪录的时间顺序,以下引言摘录[13]
- "I am a Surrealist."[14]
- "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."[13]
- "My concern is never art, but always what art can be used for."[15]
照片绘画及模糊
李希特在1960年代及1970年代初期利用黑白照片创作了各种绘画,包含报纸和书籍等不同来源,借着作品标题可窥见其内容(如Helga Matura, 1966); 私人快照; 城市和山的鸟瞰图,马德里都市风景(1968)和阿尔卑斯山(1968); 海景(1969-70); 以及1972年威尼斯双年展的德国馆所展出的大型多组件作品。而在他的作品 四十八件肖像 (1971–2)当中则是选择以作曲家的脸孔组合而成,如古斯塔夫·马勒(Gustav Mahler)和让·西贝柳斯(Jean Sibelius),以及作家如H·G·威尔士(H. G. Wells)和弗兰茨·卡夫卡(Franz Kafka)[16]
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."[13]
- "I don't create blurs. Blurring is not the most important thing; nor is it an identity tag for my pictures. When I dissolve demarcations and create, 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)."
- "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. I blur things to make all the parts a closer fit. Perhaps I also blur out the excess of unimportant information."
李希特的绘画作品完成前有不少步骤。从找到或拍下的一张摄影照片开始,从当中取材所要的色调,在画布上描绘出景物,逐步修饰到完成,时而加上柔软的刷子轻触、时而以刮刀涂抹,制造出独有的“模糊”效果。
从1964年左右开始,李希特画了不少幅肖像作品,对象包含画廊老板、收藏家、艺术家和熟识的朋友圈。分别于1977 年及1988年为女儿所绘下两件肖像作品Betty、1993年三幅名为IG作品则是第二任妻子伊萨·根泽肯(Isa Genzken)的肖像画。曾刊登于杂志内页的作品Lesende(1994)则是画下隔年与他结婚的第三任妻子萨宾·莫里茨(Sabine Moritz)。[17] 李希特也曾为纳粹党成员及其受害者家属画下肖像,用写实的方式记录国家社会主义的历史。[18] 1966年开始,李希特将他所拍摄的或他人给予的照片作为肖像的基础。 在1975年杜塞尔多夫的一次展览契机,知名艺术家组合吉尔伯特和乔治(Gilbert & George)也曾委托李希特绘制肖像。[19]
李希特于1965年开始直到1974年前期,活跃地以版画媒材创作,估计李希特大多数的版画(超过100件)都创作于1965-74年间,有着相似的内容及主题。[20] 他探索了各式各样的版画印刷方式—绢印印刷(screenprint),光刻(photolithography)和胶印(collotype),用并非昂贵的媒材,赋予他的作品 “非艺术”的表现。[21] 不过从1974年开始,创作的版画数量逐渐减少,转而从拍摄的照片上绘画。
风景画曾出现在1963年李希特早期的创作,之后1968年,利用一次假期游览科西嘉岛的机会,李希特画下一系列风景画,记录当地景致。[22] 之后,风景画在李希特的创作当中成为较独立的系列。[23] 根据迪特马·艾格(Dietmar Elger)的叙述,李希特的风景画可在传统德国浪漫绘画下被理解。作品曾拿来与卡斯帕·大卫·弗里德里希(Caspar David Friedrich, 1774-1840)的作品比较,两位艺术家的共同点是都成长于德累斯顿。[24] Große Teyde-Landschaft (1971) 就是取材度假时拍摄的特内里费岛火山区(Tenerife)照片。[25]
作品 Atlas 首次展出于1972年在Utrecht的现代艺术馆,题为 Atlas der Fotos 和 Skizzen ,作品包括315个部分。作品不断扩充、改变形式,并于1989年在慕尼黑的伦巴赫美术馆(Lenbachhaus)、1990年在科隆的路德维希博物馆(Museum Ludwig)和1995年在纽约的迪亚艺术基金会(Dia Art Foundation)中完整展出。作品 Atlas 包含4,000件摄影、重新编辑过的照片及插画,固定在约莫600个板子上,以百科全书式的方式展览。 [26]
1972年,李希特前往格林兰旅行十天,原定计划是与朋友汉娜·达尔伯文(Hanne Darboven)同行,不过后来选择独自前往。旅行中记录了荒凉的北极景观,可从于1976年制作的四幅以 海景 为名的大型创作当中,窥见格陵兰的景致。 [27]
在1982年和1983年间,李希特做了一系列的蜡烛和骷髅的绘画,与虚空静物画等传统题材有关。受乔治·德·拉·图尔(Georges de La Tour)和法兰西斯科·德·祖巴兰(Francisco de Zurbarán)等艺术家影响,李希特先在自己的工作室拍摄静物照,安排桌面上蜡烛和头骨的位置,和不同的自然光,再绘画下来。蜡烛画与首批大型抽象绘画,与当时缤纷俏皮却了无意义的艺术作品,反差极大,此类型静物作品总计约有27件。[28]1995年,德累斯顿举办第二次世界大战期间遭受盟军轰炸50周年纪念,就将李希特的蜡烛画作品被放大展出于易北河旁,俯瞰整个城市作为复兴的象征。[29]
在1988年的系列 1977年10月18日 为15件模糊的照片绘画组合而成,利用黑白报纸和警察所摄影的照片作为素材,绘下德国左翼恐怖组织红军派Faction(RAF)的四个成员。叙述1977年10月18日当天3名成员在监狱牢房内死亡,所引起的巨大争议。[30]1980年代后期,李希特就开始收集这个组织的图片,并在1989年于克雷费尔德(Krefeld)第一次展出这15件画作,利用激进记者乌尔里克·迈因霍夫(Ulrike Meinhof )的照片、霍格·麦斯(Holger Meins)被捕的照片、由警方拍下服刑中的古德伦·安司林(Gudrun Ensslin)照片、安德烈亚斯·巴德(Andreas Baader)藏枪用的书架及唱片机的照片,迈因霍夫、安司林和巴德的死亡照片以及拉斯佩(Jan-Carl Raspe)等人的葬礼照片作为素材。
李希特于2001年9月11日飞往纽约时刚好遇到九一一袭击事件,班机转降至哈利法克斯,新斯科舍。几年后,他制作了一幅关于飞机坠入世界贸易中心的小件作品。[31] 2005年李希特创作了名为 September 的作品,该作品被艺术术史作家罗伯特·斯托尔(Robert Storr)叙述为一个反意识形态的代表,他认为9月11日攻击当时无处不在的新闻照片,影响了人对该事件的独有记忆,并与作品 1977年10月18日 作为比较。[32]
在2000年,李希特做了一系列作品用科学现象去处理的作品。2003年,他制作了几幅同名作品 硅酸盐 。在大型的画布上,画下格状的浅灰和深灰色斑点,其形状固定、排列整齐,每件角度稍微不同,彼此呼应。类似发表于法兰克福杂志(Frankfurter Allgemeine Zeitung)的照片,电脑模拟昆虫壳中的二氧化硅反射的图像。 [33]
抽象作品
李希特的 Table(1962),用漩涡形状的灰色覆盖在惯用的照片写实的绘画上[34] 1969年,李希特制作了首批灰色单色画,不过其纹理及绘画方式各有所不同。
1976年,名为 Abstract Painting 是艺术家用新的创作方式“让绘画自行演变,并非被创作出来”,也因此难以用文字来解释和命名。在这个系列,李希特一开始是在画布上刷上大片的原色,然后再堆叠出许多层次。[35]绘画在创作过程中不断地演变,也保留不经意出现的细节及样式。李希特也利用相同绘画技巧,抹除和刮除来显露不同层次纹理及模糊的效果。[36]
从1980年代中期开始,李希特使用一种自制的橡皮刮板来抹除和摩擦他在画布上的大片油彩。 于1986年李希特在接受本杰明·布赫劳(Benjamin H.D. Buchloch)的访问时,被问及他的“灰色单色系列和抽象系列”,以及他们与艺术家伊夫·克莱因(Yves Klein)和埃尔斯沃思·凯利(Ellsworth Kelly)的关系。Richter的回复:
灰色单色系列是在单色画无处不在的时候。尽管如此,我还是画了,不只是凯利,还有鲍勃·莱曼(Bob Ryman),布莱斯·马登(Brice Marden),艾伦·查尔顿(Alan Charlton),伊夫·克莱因(Yves Klein)和许多其他人。[13]
作品Firenze在1999年秋季开始,为期一年多的时间,99件作品成为一个联系的周期。该系列由几张佛罗伦斯的城市摄影,利用绘画与重复涂抹而成,并对拿来向 Steve Reich和佛罗伦斯的音乐团体致敬。[37]
2000年以后,李希特利用一些作品来探讨科学现象,特别是不能由肉眼可见的作品。[38] 2006年名为Cage的六组件作品,则是以美国前卫作曲家约翰·凯吉的姓作为作品名称。[39] 2002年5月,李希特拍摄了他1987年所创作名为648-2抽象绘画的216处细节。在长桌上工作了好几个星期,李希特把这些10×15公分的细节配合165份关于伊拉克战争的文本,在于2004年3月20日和21日于Frankfurter Allgemeine Zeitung上出版。这项工作于2004年出版,名为战争之。
2008年11月,李希特开始了一个新的系列,先将墨水滴在湿纸上,再利用酒精和漆料延长和延缓墨水的自然晕染和变化。该系列的作品November被认为与他以前水彩画有显著地不同,因为浸泡的关系,油墨渗透到另外一面,有双面作品的效果。有时候,上层的图案渗入其他纸张图案,产生有连续性图案的效果。[40] 有些作品,李希特甚至在纸张的一面涂上漆,或在用铅笔跨越不同颜色加上线条。[41]
色卡绘画
早在1966年,李希特已开始彩色图表绘画系列,使用矩形色块作为物件,无止境地选择不同色调,延伸成大型作品; 这系列在1973至1974年达到一个高峰,如作品 256色 [42] 李希特在1966年到1974年间共绘制了三个彩色图表绘画系列,每个系列愈加有野心地安排更多颜色组合。最早的研究是从1966年开始,先用尺寸较小颜色也较少的排列,名为 10色 。[43] 李希特试图用这种方式,将色彩从传统、描述、符号、表现用途挣脱出来,也因此彩色图表绘画系列有种匿名的、不带感情的特色。当他做这些画的同时,李希特会让他的朋友布莱克巴勒莫(Blinky Palermo )随机地叫出颜色,并使用该颜色于作品当中。
1970年代的色彩图表系列,李希特将他的焦点从现成的系统转向概念的系统,发展成用数学程序来混合颜色及安排位置。[44] 所用的颜色范围及量,用数学方式决定。然后将每种颜色随机排列以产生所得的组合物和油漆的形式。李希特从1971年开始第二个系列,只有五件作品。在1973年和1974年期间专注于最后一个色彩图表,加入了浅灰色、深灰色和之后的绿色,以混合的形式添加。
李希特的 4900颜色 从2007年明亮的单色正方形,转变成随机排列的网格,创造出令人惊叹的万花筒效果。同时进行的,还有科隆主教座堂的南面窗户设计。 4900颜色包括25种颜色及196种版型,可以组合达11种变化–可从表面延伸色块,或多种小色块组合。李希特也为蛇形画廊另外发展了 Version II - 49幅每件尺寸为97乘97公分的绘画作品。[45]
雕塑
李希特从1967年左右开始使用玻璃来创作,当时制作了Four Panes of Glass作品 。[46] 将玻璃板以倾斜的方式安装,用不同角度串连一个紧接着一个的装置。 1970年,他和Blinky Palermo一起为1972年夏季奥林匹克运动会体育设施设计提案。在运动场的前方,他们提出了一系列27种不同颜色的玻璃窗;每种颜色随机式地分布并重复出现五十次。 1981年,在杜塞尔多夫与格奥尔格·巴泽利茨的联展中,李希特制作了第一个巨大的透明镜子,并在他之后的作品中间歇地出现;镜子尺寸明显大于绘画并利用钢骨来调整及固定。对于诸如 Mirror Painting(灰,735-2)(1991)的镜子,则是将玻璃背面加工成为灰色玻璃。[47] 在1992年在第九届卡塞尔文献展上,李希特则是与建筑师保罗·罗布布雷特(Paul Robbrecht)合作,于该展馆空间设计展出画作和彩色镜面玻璃。[48]
2002年,则是为迪亚艺术基金会(Dia Art Foundation)制作一个玻璃雕塑,利用七个平行的玻璃,折射光和周遭的空间,让该展出空间表现出多样的视觉面貌;Spiegel I 和 Spiegel II,则是从1989年尺寸为7英尺长和18英尺长的两块镜面来组合,改变了环境的边界以及画廊的观看经验;而1992年的作品 Kugel,是以球面不锈钢作为镜子,同时与空间相互照映。[49]从2002年开始,则利用三维玻璃结构,制作了一系列如 66 Standing Glass Panels(2002/2011)的作品。[50]
素描
2010年美国纽约绘画中心(the Drawing Center)举办了 不存在的线条(Lines which do not exist)展览,将李希特1966年至2005年的素描做一个整理及调查,包括使用机械干预方式制作的创作,例如将铅笔连结到电钻。 这也是自2002年于现代艺术博物馆的展览 40 Years of Painting 之后,李希特第一次于美国有较完整的回顾。[51] 在 不存在的线条 的展览评论当中,RH Lossi提及:“作为一个个人的(可能是专业的)缺陷,李希特的绘画实践包括记录下不成功的-...李希特用他个人的、摇晃的、失败的及物质的物件等证据,取代了艺术家双手创作的概念。“[52]
委托
在他的整个职业生涯中,李希特拒绝了不少交易和丰厚私人佣金的机会。一件9×9½英尺的大型作品,描绘了米兰主教座堂和19世纪的埃马努埃莱二世拱廊街,命名为 米兰大教堂广场(1968年),此作品就是西门子公司所委托所绘画的,它从1968年到1998年挂在该公司位于米兰的办公室。此件作品在1998年在伦敦苏富比拍出高达360万美元的高价。[53]1980年,李希特和伊萨·根泽肯被委托设计杜伊斯堡的König-Heinrich-Platz地铁站;并在1992年完成施工。1986年,李希特也为杜塞尔多夫的维多丽亚保险公司制作了两件大型作品 Victoria I 及 Victoria II 。[54] 1990年,他与索尔·勒维特和奥斯瓦尔德·马蒂亚斯·翁格尔斯一起为杜塞尔多夫的巴伐利亚抵押及本票银行(Bayerische Hypotheken- und Wechselbank)创作作品。1998年,李希特为柏林德国国会大厦的整修,利用德国国旗的颜色来做设计。
科隆大教堂
2002年,在他的MoMA回顾展的同一年,李希特受委托设计 科隆主教座堂 设计彩色花窗玻璃。2007年8月正式揭幕完成后的彩色玻璃窗。它是利由抽象拼贴的方式,约11,500个像素般的正方形玻璃,一共72种颜色,对称地、随机地排列于113平方米(1,220平方英尺)的窗型大小,让人联想到1974年的作品 4096色 。虽然艺术家并未收取费用,不过光是材料和制作的费用就高达37万欧元(506,000美元)。这些费用透过募款由1,000多人的捐款支付。[55] 当时主教Joachim Meisner没有参加彩色玻璃窗的正式揭幕;表示他较偏好具象地呈现基督徒烈士的方式,并说李希特的设计更适合出现在清真寺或其他祷告殿。[56][57][58] 虽然艺术家自称为无神论者或“偏天主教徒”,不过李希特的三个孩子与他第三任妻子后来都在科隆大教堂受洗。[59]
展览
Richter first began exhibiting in Düsseldorf in 1963. Richter had his first gallery solo show in 1964 at Galerie Schmela in Düsseldorf. Soon after, he had exhibitions in Munich and Berlin and by the early 1970s exhibited frequently throughout Europe and the United States. In 1966, Bruno Bischofberger was the first to show Richter's works outside Germany. Richter's first retrospective took place at the Kunsthalle Bremen in 1976 and covered works from 1962 to 1974. A traveling retrospective at Düsseldorf's Kunsthalle in 1986 was followed in 1991 by a retrospective at the Tate Gallery, London. In 1993 he received a major touring retrospective "Gerhard Richter: Malerei 1962–1993" curated by Kasper König, with a three volume catalogue edited by Benjamin Buchloch. This exhibition containing 130 works carried out over the course of thirty years, was to entirely reinvent Richter's career.
Richter became known to a U.S. audience in 1990, when the Saint Louis Art Museum circulated Baader-Meinhof (October 18, 1977), a show that that was later seen at the Lannan Foundation in Marina del Rey, California.[60] Richter's first North American retrospective was in 1998 at the Art Gallery of Ontario and at the Museum of Contemporary Art, Chicago. In 2002, a 40-year retrospective of Richter's work was held at the Museum of Modern Art, New York, and traveled to The Art Institute of Chicago, the San Francisco Museum of Modern Art, and the Hirshhorn Museum and Sculpture Garden, Washington, D.C. He has participated in several international art shows, including the Venice Biennale (1972, 1980, 1984, 1997 and 2007), as well as Documenta V (1972), VII (1982), VIII (1987), IX (1992), and X (1997).[来源请求] In 2006, an exhibition at the Getty Center connected the landscapes of Richter to the Romantic pictures of Caspar David Friedrich, showing that both artists "used abstraction, expansiveness, and emptiness to express transcendent emotion through painting."[61]
The Gerhard Richter Archive was established in cooperation with the artist in 2005 as an institute of the Staatliche Kunstsammlungen Dresden[62]
个展 (节选)
- Gerhard Richter 4900 Colours: Version II at the Serpentine Gallery, London, United Kingdom. 2008[63]
- Gerhard Richter Portraits at the National Portrait Gallery, London, United Kingdom. 2009
- Gerhard Richter: Panorama at the Tate Modern, London, United Kingdom. 2011[64]
- Gerhard Richter at the Centre Pompidou, Paris, France. 2012[65]
- Gerhard Richter: Panorama at the Neue Nationalgalerie, Berlin, Germany. 2012[66]
识别
Although Richter gained popularity and critical praise throughout his career, his fame burgeoned during his 2005 retrospective exhibition, which declared his place among the most important artists of the 20th century. Today, many call Gerhard Richter the best living painter. In part, this comes from his ability to explore the medium at a time when many were heralding its death. Richter has been the recipient of numerous distinguished awards, including the State Prize of the state North Rhine-Westphalia in 2000; the Wexner Prize, 1998; the Praemium Imperiale, Japan, 1997; the Golden Lion of the 47th Biennale, Venice, 1997; the Wolf Prize in Israel in 1994/5; the Kaiserring Prize der Stadt Goslar, Mönchehaus-Museum für Moderne Kunst, Goslar, Germany, 1988; the Oskar Kokoschka Prize, Vienna, 1985; the Arnold Bode Prize, Kassel, 1981; and the Junger Western Art Prize, Germany, 1961. He was made an honorary citizen of Cologne in April 2007.
影响
Among the students who studied with Richter at the Kunstakademie Düsseldorf between 1971 and 1994 were Ludger Gerdes, Hans-Jörg Holubitschka, Bernard Lokai, Thomas Schütte, Thomas Struth, Katrin Kneffel, Michael van Ofen, and Richter's second wife, Isa Genzken. He is known to have influenced Ellsworth Kelly, Christopher Wool, Allan Banford and Johan Andersson.
He also served as source of inspiration for writers and musicians. Sonic Youth used a painting of his for the cover art for their album Daydream Nation in 1988. He was a fan of the band and did not charge for the use of his image.[来源请求] The original, over 7米(23英尺) square, is now showcased in Sonic Youth's studio in NYC.[来源请求] Don DeLillo's short story "Baader-Meinhof" describes an encounter between two strangers at the Museum of Modern Art in New York. The meeting takes place in the room displaying 18 October 1977 (1988).[67]
Photographer Cotton Coulson described Richter as "one of [his] artists"[68]
艺术市场定位
Following an exhibition with Blinky Palermo at Galerie Heiner Friedrich in 1971, Richter's formal arrangement with the dealer came to an end in 1972. Thereafter Friedrich was only entitled to sell the paintings that he had already obtained contractually from Richter. In the following years, Richter showed with Galerie Konrad Fischer, Düsseldorf, and Sperone Westwater, New York. Today Richter is represented by Marian Goodman,[69] his primary dealer since 1985.
Today, museums own roughly 38% of Richter's works, including half of his large abstract paintings. By 2004, Richter's annual turnover was $120 million.[70] At the same time, his works often appear at auction. According to artnet, an online firm that tracks the art market, $76.9 million worth of Richter's work was sold at auction in 2010. Richter's high turnover volume reflects his prolificacy as well as his popularity. As of 2012, no fewer than 545 distinct Richter's works had sold at auctions for more than $100,000. 15 of them had sold for more than $10,000,000 between 2007 and 2012.[71] Richter's paintings have been flowing steadily out of Germany since the mid-1990s even as certain important German collectors – Frieder Burda, Josef Fröhlich, Georg Böckmann, and Ulrich Ströher – have held on to theirs.
Richter's candle paintings were the first to command high auction prices. Three months after his MoMA exhibition opened in 2001, Sotheby's sold his Three Candles (1982) for $5.3 million. In February 2008, the artist's eldest daughter, Betty, sold her Kerze (1983) for £7,972,500 ($15 million), triple the high estimate, at Sotheby's in London.[72] His 1982 Kerze (Candle) sold for £10.5 million ($16.5 million) at Christie's London in October 2011.[73]
In February 2008, Christie's London set a first record for Richter's "capitalist realism" pictures from the 1960s by selling the painting Zwei Liebespaare (1966) for £7,300,500 ($14.3 million)[74] to Stephan Schmidheiny. In 2010, the Weserburg modern art museum in Bremen, Germany, decided to sell Richter's 1966 painting Matrosen (Sailors) in a November auction held by Sotheby's, where John D. Arnold bought it for $13 million.[75] Vierwaldstätter See, the largest of a distinct series of four views of Lake Lucerne painted by Richter in 1969, sold for £15.8 million ($24 million) at Christie's London in 2015.[76]
Another coveted group of works is the Abstrakte Bilder series, particularly those made after 1988, which are finished with a large squeegee rather than a brush or roller. At Pierre Bergé & Associés in July 2009, Richter's 1979 oil painting Abstraktes Bild exceeded its estimate, selling for €95,000 ($136,000).[77] Richter's Abstraktes Bild, of 1990 was made the top price of 7.2 million pounds, or about $11.6 million, at a Sotheby's sale in February 2011 to a bidder who was said by dealers to be an agent for the New York dealer Larry Gagosian.[78] In November 2011, Sotheby's sold a group of colorful abstract canvases by Richter, including Abstraktes Bild 849-3, which made a record price for the artist at auction when Lily Safra[79] paid $20.8 million[80] only to donate it to the Israel Museum afterwards. Months later, a record $21.8 million was paid at Christie's for the 1993 painting Abstraktes Bild 798-3.[81] Abstraktes Bild (809-4), one of the artist's abstract canvases from 1994, was sold by Eric Clapton at Sotheby's to a telephone bidder for $34.2 million in late 2012. (It had been estimated to bring $14.1 million to $18.8 million.[82] When asked about amounts like that Richter said "It's just as absurd as the banking crisis. It's impossible to understand and it's daft!"[83]
影片
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In 2007, Corinna Belz made a short film called Gerhard Richter's Window where the media-shy artist appeared on camera for the first time in 15 years. In 2011, Belz's feature-length documentary entitled Gerhard Richter Painting was released. The film focused almost entirely on the world's highest paid living artist producing his large-scale abstract squeegee works in his studio [84]
名言语录
- "One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks this passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is idiocy."[13]
- "Perhaps because I'm sorry for the photograph, because it has such a miserable existence even though it is such a perfect picture, I would like to make it valid, make it visible – just make it (even if what I make is worse than the photograph). And this making is something that I can't grasp, or figure out and plan. That is why I keep on and on painting from photographs, because I can't make it out, because the only thing to do with photographs is paint from them. Because it attracts me to be so much at the mercy of a thing, to be so far from mastering it."[13]
- "No one painting is meant to be more beautiful than, or even different from any other. Nor is it meant to be like any other, but the same: the same, though each was painted individually and by itself, not all together and all of a piece, like Multiples. I intended them to look the same but not be the same, and I intended this to be visible."[13]
- "Painting has nothing to do with thinking, because in painting thinking is painting. Thinking is language – record-keeping – and has to take place before and after. Einstein did not think when he was calculating: he calculated – producing the next equation in reaction to the one that went before – just as in painting one form is a response to another, and so on."
- "It makes no sense to expect or claim to 'make the invisible visible', or the unknown known, or the unthinkable thinkable. We can draw conclusions about the invisible; we can postulate its existence with relative certainty. But we all can represent is an analogy, which stands for the invisible but is not it."[13]
- "The best thing that could have happened to art was its divorce from government."[85]
- "Everything made since Duchamp has been a readymade, even when hand-painted."
- At a Q&A ahead of his retrospective at the Tate Modern on 4 October 2011, he was asked: "Has the role of artist changed over the years?" Richter replied: "It's more entertainment now. We entertain people."
参见
- Wand (Wall)
参考文献
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- ^ (Elger 2009,p.3)
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- ^ 13.0 13.1 13.2 13.3 13.4 13.5 13.6 13.7 Richter, Gerhard, and Hans Ulrich Obrist.
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- ^ Gerhard Richter: Landscapes (页面存档备份,存于互联网档案馆) Hatje Cantz Publishing
- ^ (Elger 2009,pp.173–74)
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- ^ Gerhard Richter: Atlas 互联网档案馆的存档,存档日期2011-03-24.
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- ^ Rachel Saltz (March 13, 2012), "An Artist at Work, Looking and Judging: Gerhard Richter Painting, a Documentary" (页面存档备份,存于互联网档案馆), The New York Times
- ^ Gerhard Richter: Abstract Painting (809-3), 1994Tate, London
- ^ Gerhard Richter Firenze (页面存档备份,存于互联网档案馆) Marian Goodman Gallery, June 21 through August 30th, 2002
- ^ Gerhard Richter: Abstract Painting (Skin) (887-3) 2004Tate, London
- ^ Gerhard Richter (页面存档备份,存于互联网档案馆) Tate Modern, Collection Displays
- ^ Alexander Adams (June 13, 2013),At the top of his game 互联网档案馆的存档,存档日期2013-08-10. The Art Newspaper.
- ^ Dieter Schwarz (February 14, 2013), Picture preview: Gerhard Richter's previously unseen November series (页面存档备份,存于互联网档案馆) The Independent.
- ^ Gerhard Richter (b. 1932), 4096 Farben, Sale 1373 (页面存档备份,存于互联网档案馆) Christie's London, 11 May 2004
- ^ Gerhard Richter: 180 Farben (180 Colors) (页面存档备份,存于互联网档案馆) Philadelphia Museum of Art Collection
- ^ Colour Chart: Reinventing Colour, 1950 to Today (页面存档备份,存于互联网档案馆) Tate Liverpool, 29 May through 13 September 2009
- ^ Gerhard Richter: 4900 Colours (页面存档备份,存于互联网档案馆) Hatje Cantz Publishing, 2008
- ^ Gerhard Richter: 11 Panes, 2004 Tate Collection
- ^ Gerhard Richter: Mirror Painting (Grey, 735-2), 1991 Tate, London
- ^ Gerhard Richter 互联网档案馆的存档,存档日期2010-11-22., Dia Art Foundation
- ^ Gerhard Richter and Jorge Pardo: Refraction 互联网档案馆的存档,存档日期2011-01-14.
- ^ Gerhard Richter: Painting 2012, September 12 – October 13, 2012 (页面存档备份,存于互联网档案馆) Marian Goodman Gallery, New York
- ^ Cotter, Holland. Building an Art of Virtuouso Ambiguity. The New York Times. 9 September 2010 [2017-01-27]. (原始内容存档于2019-11-14).
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- ^ Carol Vogel (March 28, 2013), More Richter At Auction (页面存档备份,存于互联网档案馆), The New York Times
- ^ (Elger 2009,p.278)
- ^ Cologne Cathedral Gets New Stained-Glass Window (页面存档备份,存于互联网档案馆) Der Spiegel, August 27, 2007
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- ^ Gerhard Richter (b. 1932) Zwei Liebespaare, Sale 7565 (页面存档备份,存于互联网档案馆) Christie's London, Post-War and Contemporary Art Evening Sale, 6 February 2008
- ^ Gerhard Richter, b.1932: Matrosen (Sailors) (页面存档备份,存于互联网档案馆).
- ^ Scott Reyburn (February 12, 2015), Christie's and Sotheby's Auctions in London Keep the Bubble Afloat (页面存档备份,存于互联网档案馆) The New York Times
- ^ Abstraktes Bild – Abstract Painting 1979: Catalogue Raisonné 447[失效链接].
- ^ Souren Melikian. Disruptions at Sotheby's Contemporary Auction. The New York Times. February 16, 2011 [2017-01-27]. (原始内容存档于2019-11-03).
- ^ Carol Vogel (January 12, 2012), Surprise! (页面存档备份,存于互联网档案馆)
- ^ Carol Vogel (November 9, 2011), As Stocks Fall, Art Surges At a $315.8 Million Sale (页面存档备份,存于互联网档案馆), The New York Times
- ^ Scott Reyburn (June 13, 2012), Hedge Funder Cohen, Eye Rothko, $25 Million Richter Sells (页面存档备份,存于互联网档案馆) Bloomberg
- ^ Carol Vogel (October 15, 2012), Gerhard Richter Painting Sets Record Auction Price for a Living Artist (页面存档备份,存于互联网档案馆), The New York Times
- ^ "Gerhard Richter talks about Panorama at Tate Modern" 互联网档案馆的存档,存档日期2011-10-09., Phaidon.com, October 2011 Error in webarchive template: Check
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value. 空的。 - ^ Crow, Kelly. The Top-Selling Living Artist. Wall Street Journal. March 16, 2012 [2017-01-27]. (原始内容存档于2013-10-04).
- ^ Richter, Gerhard, and Hans Ulrich Obrist.
参考书目
外部链接
- Official website (页面存档备份,存于互联网档案馆) with comprehensive image database, biography, literature list and timeline
- 现代艺术博物馆收藏的葛哈·李希特作品
- Gerhard Richter at Solomon R. Guggenheim Museum
- Gerhard Richter Archive (页面存档备份,存于互联网档案馆) (State Art Collections Dresden, Germany)
- Gerhard Richter at Galerie Ludorff, Düsseldorf, Germany
- Thomas Dreher: Gerhard Richter: Atlas (1989) (页面存档备份,存于互联网档案馆) Review of an exhibition at the Lenbachhaus Munich 1989, in German
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