Works grand London exhibition "Gerhard Richter: Panorama" cover 50 years of career German artist

Tate Modern, London, October 6, 2011 - January 8, 2012

leading art critic Bloomberg Geyford Martin (Martin Gayford) says that while some critics lament the untimely death of a hurry painting as an art form, the Tate Modern in London is a grand exhibition "Gerhard Richter: Panorama", all works which are beautiful examples of traditional painting techniques, and discusses the art of the artist.

Richter works are devoted to how the death of painting, and the meaninglessness of art, which makes the legacy of this artist so topical.

Richter (b. 1932, Dresden) creates this for the past fifty years, in two main ways: either his paintings based on photographs or abstract. Each of these creative manner Richter has a long history.

Gerhard Richter Reading. 1994 exhibition" Gerhard Richter: Panorama » Tate Modern, London Source: bloomberg.com

photo (and its direct predecessors) has influenced painting for centuries, at least since its formal invention in the XIX century. It is also clear, for example, that Vermeer has in the XVII century, used in his work profotograficheskuyu technique - the artist was looking at your subject with the camera obscura. Richter, the Vermeer sees as its predecessor, this creative connection, he emphasized his work is "read" 1994, echoing with the Dutch images of women readers.

works by Vermeer are filled with supernatural calm, filled with divine light. In comparison with them, "photographic" paintings Richter show how many total misses the camera lens. Some of the earliest of his works based on photographs from the family album . In the picture "Teetya Marianne" (1965) Smiling sweet teenage girl with a baby in her arms. But behind such innocuous paintings hidden dark secrets at home Richter. blowing a child - it's the future artist, and keeps his Aunt Marianne, who suffered from a mental disorder, and killed the Nazis. Another painting, "Uncle Rudy" (1965), reproduces the image of the artist's uncle in a Nazi uniform. Richter intentionally blurs the outlines of figures and adds fog, detects that the camera will "see". These fuzzy patches have their own special beauty of the cold .

Gerhard Richter Aunt Marianne. 1965 exhibition "Gerhard Richter: Panorama» Tate Modern, London Source: bloomberg.com

times passion becomes accidental forms in Richter's contemplation of nature in the spirit of the teachings of Zen. It's hard not to see the likeness of the altar in almost photorealistic triptych "Clouds" (1970). Floating in front of you the clouds are seen as divine revelation. But at the same time it is clear that in all these pieces of a pair of no more sense than a Rorschach test. Obviously, the artist plays with the postulate of the "death of God" put forward by the philosophers of the XIX century. Richter sees its relationship with the great landscape painter of the past - an Englishman, William Turner and the German Romantic Caspar David Friedrich. Last endowed his paintings an almost religious power, in their idealistic seas and mountains, feel the divine presence. But Richter, unlike them, nature becomes something alien, if not hostile.

Some of the works eerily realistic Richter, others move on to full abstraction. Like the artist draws visual power that has color in the absence of special sense or conscious idea of ​​the composition.

working on the painting "4096 colors" (1974), the artist has made a major paint palette in 1024 shade and then each of them drew four squares in different parts of the canvas. The results are spurts of energy, although the process of achieving it was a purely mechanical (paintings by Damien Hirst "polka dot" owe much to the Richter scale). Since the early 1980s for many of its abstractions, Richter uses rubber spatula, with which it deals, moves and deletes the paint. In this paint flicker, as in the canvases of Monet. And the most interesting thing that made this beauty was a chaotic mixing of pigments. You see only what you see. Emptiness in the heart of the world may seem Richter melancholic, but paradoxically, it is proved that in the case of the painting can be said about life after death.

exhibition "Gerhard Richter: Panorama "after the Tate Modern will move into the New National Gallery in Berlin (February 12 - May 13, 2012), and then travel to the Centre Pompidou in Paris (June 6 - September 24, 2012).

Prepared by Mary Onuchina, AI

Sources : artinvestment.ru