Gerhard Richter (b. 1932)Abstraktes Bild (809-1)signed, numbered and also dated "809-1 Richter 1994" (on the reverse); numbered again "809-1" (on the transforming edge)oil ~ above canvas88¾ x 78 7/8 in. (225 x 200 cm.)Painted in 1994.

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Anthony D"Offay Gallery, LondonCollection of Ulla and also Heiner Pietzsch, BerlinTheir sale; Sotheby"s, new York, 14 November 2001, lot of 31Acquired at the above sale by the present owner
Gerhard Richter, exh. Cat., London, Anthony D"Offay Gallery, 1998, p. 104, no. 809-1 (illustrated in color).Gerhard Richter Catalogue Raisonné 1993-2004, Dusseldorf, 2005, pp. 270 and also 309, no. 809-1 (illustrated in color).
London, Anthony d"Offay Gallery, Gerhard Richter: painting in the Nineties, June-August 1995, p. 84, no. 15 (illustrated in color).Dresden, Residenzschloss, Dalí, Miró, Picasso...Sammlung Ulla und Heiner Pietzsch, June-August 2000.

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The lot will be had in the forthcoming fifth volume of the Gerhard Richter Catalogue Raisonné, edited by the Gerhard Richter Archive, Dresden, as no. 809-1.Rendered in a affluent autumnal palette of scarlet, emerald and golden yellow, dotted through flecks that violet and also Prussian blue, Abstraktes Bild (809-1) is a masterpiece from Gerhard Richter"s finest duration of abstraction. Developed in 1994, Abstraktes Bild stands together the first in a monumental four-part collection and is situated among a pantheon that highly commemorated abstract cycles, which includes the four-part Bach series, 1992, currently housed in the Moderna Museet, Stockholm. Abstraktes Bild was an initial exhibited in 1995 together with its companion piece in Gerhard Richter: painting in the Nineties at Anthony d"Offay Gallery, London, one acclaimed display that contained works that currently reside in significant museum collections such together Statens Museum because that Kunst, Copenhagen; The Cleveland Museum the Art, Cleveland; La Caixa Foundation, Barcelona and also The nationwide Museum of contemporary Art, Tokyo. Without doubt a companion work, Abstraktes Bild (809-3), prestigiously lives in the joint repertoire of the Tate and also the nationwide Galleries that Scotland. The current work to be acquired directly from Anthony d"Offay collection by Ulla and Heiner Pietzsch in whose prominent collection that resided until it was acquired by the present owner in 2001. An ext recently, Richter appreciated a significant career retrospective at Tate Modern, London in 2011 that later on traveled to Neue Nationalgalerie, Berlin and Centre Pompidou, Musée nationwide d"Art Moderne, Paris.In Abstraktes Bild, the eye is guided throughout the epic surface, reveling in the smooth transitions that pigment the traverse from one textural interlude to the next, punctuated through chromatic i of indigo, alabaster white and magenta. In this majestic work, there space no indicators of conflict, yet rather cost-free flowing, intuitive gestures that result in a surface ar that emits a radiating glow; the squeegee including and individually layers of repaint to disclose myriad colors with the beautifully operated surface. Richter veils whereby one class of paint ends and also the next begins; primary colors melt into a cohesive satin-finished surface. Throughout the length and also breadth the the canvas, Richter has actually spread wealthy oil repaint in an interplay that vertiginous columns and wide swathes, enabling the paint to communicate wet-on-wet, and producing the elegant contours the make the current work for this reason spectacular. His meticulous taking care of of this viscous problem engenders the work-related with a momentum and dynamism checked only by striations and also chance aspects that arise from his technique. This applications of color, in the wealthy marblings that greens and in the staccatoed blurs that reds and yellows draws the eye into depths of the image, while in ~ the same time, reiterating the surface ar of the canvas itself. As Robert Storr has actually enthusiastically attested, in functions such as Abstraktes Bild, "it is tough to think of him as anything various other than one of the good colorists of so late twentieth-century painting" (R. Storr, quoted in Gerhard Richter: forty Years the Painting, exh. Cat., Museum of modern-day Art, new York, 2002, p. 70).PAINTING THE SUBLIMEThere is a majesty in this work, both in that is opulent color pension and big format, i m sorry invokes a comparable sense of the sublime as knowledgeable in the functions of post-war abstract Expressionists Barnett Newman and also Mark Rothko. In the passages of primary shade that withstand Richter"s rhythmic undulating process, there is one evocation that those works by Newman, such together Who"s afraid of Red, Yellow and Blue, which presented the overwhelming affect such pure color could have actually in big expanses. In an practically homage-like fashion, the essential color palette employed by Richter below in Abstraktes Bild evokes the abstract Expressionist penchant for primaries-- red, yellow, blue and white. Yet, in the decade prior to the development of this painting, Richter fervently distanced himself from the previously generation of abstract Expressionists, declare "an assault on the falsity and the religiosity that the means people glorified abstraction, v such phony reverence" (G. Richter, quoted in Gerhard Richter: forty Years of Painting, exh. Cat., Museum of contemporary Art, brand-new York 2002, p. 69). The abstract Expressionists endeavored come bring around a transcendence in the process of looking, to lug the viewer to a higher plane that enlightenment. Here, Richter"s richly colored and highly sophisticated surface inspires this very same search for meaning, and also yet also refutes it through its mechanically created chromatic fusions. Richter"s abstract occupational is undeniably present in our reality but unnamable; we desire to categorize it as transcendent, together sublime, in bespeak to explain its unsure presence. Yet his work-related refutes this tendency by mirroring the indelible point out of its creation. Richter pertained to appreciate this capacity in his art, and also in Newman and also Rothko, noting in a conversation with note Rosenthal in 1998, "I am much less antagonistic come "the holy," to the spirituality experience, these days. It is part of us and also we need that quality" (R. Storr, quoted in Gerhard Richter: fourty Years that Painting, exh. Cat., Museum of modern-day Art, brand-new York, 2002, p. 69-70). ABSTRACTION: "My presence, mine reality, my problems, my difficulties and also contradictions"For Richter, his free abstraction is the product of a long investigation into the possibilities of paint spanning much more than 5 decades. Coming full-circle from his at an early stage Tisch (Table) (1962) in which he canceled his photorealist photo with haptic swirls that gray paint, Richter started in the 1980s to freely overlay his canvases with vivid streaks and also drags of pigment using his signature squeegee. In producing his first abstract pictures, Richter to work a procedure similar to the of his commemorated photo-based paintings. V a practice regarded because that its heterogeneity, Richter"s abstract functions are commemorated for their capability to convey, together the artist self explains, "my presence, mine reality, mine problems, mine difficulties and contradictions. Lock are an extremely topical because that me" (G. Richter, quoted in "Interview with Dorothea Dietrich, 1985," in D. Elger and also H. Ulrich Obrist (eds.), Gerhard Richter, TEXT: Writings, Interviews and also Letters: 1961-2007, London, 2009, p. 146). In his abstract works, Richter allows structure and also color alone come generate and determine the picture as channeled with his squeegee. "When I paint an abstract Picture," Richter described, "I neither recognize in breakthrough what it is meant to look prefer nor, during the paint process, what i am aiming at and what come do about getting there. Painting is in turn an almost blind, desperate effort, like that the a human being abandoned, helpless, in totally incomprehensible surroundings" (G. Richter, quoted in J. Harten & D. Elger, Gerhard Richter: paints 1962-1985, Düsseldorf 1986, p. 89).Abstraktes Bild stands as a finishing work in Richter"s investigations of depiction through painterly manufacturing that has actually spanned decades. He has concentrated on deconstructing the idea that an pure reality have the right to be known or communicated through a solitary painting style. Deftly moving between photorealist functions from his own personal background or culled from newspapers, color charts, cityscapes and abstraction, the heterogeneity of Richter"s exercise evidences his belief that abstraction and figuration appear as opposite ends of the exact same spectrum, abstraction gift no less a depiction of truth than those photorealist paintings of landscapes, human being or places. Never ever at odds space his differed methods, analogous in the methods they attempt to reflect modern life. Native his more quickly works, Richter has said that truth is elusive and hard to hold onto, that sight and also our inability to ever before truly think what we check out is a basic aspect of the person condition. ~ above this Richter has stated, "I cannot explain anything more clearly about truth than my own relation to reality. And also this has constantly to execute with haziness, insecurity, inconsistency, fragmentary performance, or what have you" (G. Richter, quoted in R. Schn, Interview, "Gerhard Richter: 36. Biennale di Venezia", in R. Nasgaard, Gerhard Richter Paintings, exh. Cat., Museum of modern-day Art, Chicago, 1998, p. 9).A MASTER"S TOOL: THE SQUEEGEEIn his expedition of the abstract, Richter took up the vocabulary of picture-making-- form, color gesture, figure and also ground oppositions, alloverness-- not as pure formal relationships or aspects empty of references, but completely attentive to your evocative capacity and associative meanings. In his usage of the squeegee, Richter gotten rid of the artist"s hand from his composition; together non-compositionality expected that the intentionality that the artist"s hand was no longer the major operating device for the building of one image. This technique was to discover its pure articulation between 1989 and also 1994 v large-format paintings such together Abstraktes Bild. Deconstructing the relationship in between figure and ground, Richter to be embracing the contingency the his medium, enjoy it the chance effects of the spontaneous however confident application of paint. Together Dietmar Elger has actually observed, "for Richter, the squeegee is the most crucial implement for integrating coincidence right into his art. For years, he offered it sparingly, but he came to appreciate how the framework of paint used with a squeegee deserve to never be completely controlled. It hence introduces a minute of surprised that often enables him to extricate himself from a an imaginative dead-end, damaging a prior, unsatisfactory effort and also opening the door come a fresh start" (D. Elger, Gerhard Richter: A Life in Painting, Chicago 2009, p. 251). Richter"s insertion of opportunity operations enables each and every gesture and also its outcomes to take it on same relevance and also presence in the work, permitting him come critically communicate with the nearly microscopic differentiations that emerge through his painterly facture. Together he as soon as explained, "it is a an excellent technique because that switching off reasoning consciously, i can"t calculate the result. However subconsciously, I have the right to sense it. This is a nice "between" state"" (G. Richter quoted in D. Elger, Gerhard Richter: A Life in Painting, Chicago, 2009, p. 251). In the very fact the the structure of the paint deserve to never be totally controlled through his own will, Richter becomes an engaged observer that his very own process, orchestrating the revelations, blurs, slippages and marblings that proliferate through the contingency of the opportunity encounters the his materials. Richter explained: "It certainly is different. Above all, it"s never ever blind chance: it"s a chance that is always planned, but likewise always surprising. And I require it in order to lug on, in order come eradicate mine mistakes, to ruin what I"ve resolved wrong, to present something different and also disruptive. I"m often astonished to find how much better chance is than I am" (G. Richter, interview through B. Buchloch, H. Obrist (ed.), Gerhard Richter: The daily Practice of paint Writings 1962-1993, London, 1995, p. 159).ABSTRACT COUNTERPOINTS: see & PHOTOGRAPHYIn Abstraktes Bild the accumulation layers of non-representational repaint in greens, yellows and also reds, cannot help but evoke the fiery vista of a landscape in ~ the elevation of autumn. Just as the Impressionists had actually done generations prior to him in their depictions of landscape, Richter elegantly illuminates the changing boundary between figuration and also abstraction. Due to the fact that the mid-1980s Richter has operated to close the gap in between his abstractions and also his landscapes. The artist has often remarked top top his denial of the constraints of representation, but he still believes in its capability to open up the possibilities to view the invisible and also unknowable. As he elaborated, "every time we define an event, add up a column of numbers or take it a picture of a tree, we create a model; without models us would understand nothing around reality and would be favor animals. Abstract paintings are fictitious models since they visualize a reality, i beg your pardon we have the right to neither see nor describe, however which us may however conclude exists. We attach an adverse names to this reality; the unknown, the ungraspable, the infinite, and also for hundreds of years us have depicted it in terms of substitute pictures like heaven and also hell, gods and also devils. Through abstract paint we create a better means of pull close what deserve to be neither viewed nor understood" (G. Richter quoted in R. Nasgaard, "Gerhard Richter," Gerhard Richter: Paintings, exh. Cat., Museum of modern Art, Chicago 1988, p. 107). Despite his abstract functions conveying no mimetic representation of reality, they do strongly connect an equivalent and also equally valid photographic reality. Richter describes of this connection between these 2 seemingly disparate genres in his practice: "Almost all the abstract paintings display scenarios, surroundings or landscapes that don"t exist, yet they develop the impression that they could exist. Together though they were photographs that scenarios and regions that had never however been seen, that might never exist" (G. Richter, quoted in "I have Nothing come Say and I"m speak It: Conversation in between Gerhard Richter and also Nicolas Serota, feather 2011," exh. Cat., Gerhard Richter: Panorama, Tate Modern, London, 2011, p. 19).In its diffusive blossoming the rich, colorful color, the mental yearns to find figuration in the scene available in Abstraktes Bild. The slippage in the wavering presence of dark environment-friendly verticals and gold band-like horizon lines renders it feel as though we room viewing a forest at the height of the loss season through a magnifying glass. Richter"s propensity to blur our vision that the human being through his painterly practice in order to heighten our awareness is inseparably associated with the history of photography. Indeed, there is a unique photographic quality to Abstraktes Bild in its ethereal melding of color planes created by the squeegee, i m sorry evokes his early photorealist works and his effacement of actual photographs through coagulated ripples the color. For Richter, photography has consistently detailed a mediating tool that placed the personalized element of painting at a distance, releasing it from associations v the subjective expression that the artist. An too much tension is lugged to be affected by each other in his abstract paintings, above all, due to the fact that Richter wants them to be interpreted as photographs in prolonged sense, and he provides this clean in their structure and tendency. This distinguish his paintings from every previously recognized abstract painting. "I"m no trying come imitate a photograph; I"m make the efforts to do one. And if I ignore the presumption that a picture is a item of paper exposed come light, then ns am practicing photography by various other means: I"m not creating paintings the remind you of a photograph, but producing photographs. And, watched in this way, those of my paintings that have actually no photographic source (the abstracts, etc.) are additionally photographs" (G. Richter, quoted in "Interview v Rolf Schön, 1972" in D. Elger and also H. Ulrich Obrist (eds.), Gerhard Richter, TEXT: Writings, Interviews and also Letters: 1961-2007, London, 2009, p. 73).1990s: A TIME OF supreme CONTENTMENTIn the 1990s, the wealth of the surface and color in Richter"s Abstraktes Bilds got to an apex. His use of the squeegee intensified, and also the use of the wet-on-wet technique, applying the peak color before the layers beneath it to be dry, enabled formations the paint next to and on top of one another to melt into a delicate, flowing structure of vivid transitions. Abstraktes Bild is a crucial example of this commemorated turn in Richter"s abstract works, as is the huge Bach bike of some 2 years earlier. Indeed during this period Richter appears to be reveling in the sensual pleasures that freely applied paint and also color, experimenting its potentiality in a suite the cycles of i m sorry Abstraktes Bild"s series is one example. Various other examples incorporate his bike of four Grün-Blau abstracts from 1993, at this time held in the Museo Nacional Centro de Arte Reina Sofa, Madrid, and the cycle of 5 works, Rot-Blau-Grün (Red, Blue, Green), 1994, organized in the Abgeordnetenhaus (House that Representatives), Berlin, Germany.The nearly natural majesty of Abstraktes Bild deserve to be taken as a have fun of the artist"s good personal satisfaction during this period. The early 1990s to be a time of supreme contentment because that the artist. In 1991 he had held his breakthrough exhibition in ~ the Tate Gallery, London and also in 1993 he received a major touring retrospective Gerhard Richter: Malerei 1962-1993 preserve by Kasper König, through a three-volume catalogue edited by Benjamin Buchloch. This latter exhibition, comprise 130 works brought out over the food of thirty years, to be to entirely reinvent Richter"s career. As doubter Doris von Drathen created of the exhibition, "there are exhibitions that, like an excellent milestones, reset the criter in contemporary art. Richter"s retrospective, launching now at the ARC in Paris, is the this quality" (D. Von Drathen quoted in D. Elger, Gerhard Richter: A Life in Painting, Chicago, 2009, p. 323). In 1994, whilst he was completing Abstraktes Bild, Richter was likewise engaged in a collection of paintings depicting his brand-new wife, Sabine Moritz. The warmth and also affection the felt for Sabine Moritz to be immediately obvious in his works in 1994, an especially in the photorealist masterpiece, Lesende (Reader), (High Museum of Art, Atlanta) whereby Richter displayed a tenderness in the direction of his subject, using diffused light to illuminate Sabine"s elegant profile. Certainly a sense of his enriched emotionally life is obvious in the confident gestures, radiance and also majestic color board of Abstraktes Bild.