Gerhard Richter (b. 1932)
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Gerhard Richter (b. 1932)

Heu (Hay)

细节
Gerhard Richter (b. 1932)
Heu (Hay)
signed, numbered and dated '831-1 Richter 1995' (on the reverse)
oil on canvas
78¾ x 55 1/8in. (200 x 140cm.)
Painted in 1995
来源
Marian Goodman Gallery, New York.
Acquired from the above by the present owner in 1997.
出版
Gerhard Richter 1998, exh. cat., London, Anthony d'Offay Gallery, 1998, no. 831-1 (illustrated in colour, unpaged).
Gerhard Richter Werkverzeichnis 1993-2004, exh. cat. Dusseldorf, K20 Kunstsammlung Nordrhein-Westfalen, 2005, no. 831-1 (illustrated in colour, unpaged).
展览
Nîmes, Carré d'Art, Musée d'Art Contemporain, Gerhard Richter-100 Pictures, June-September 1996, no. 831-1 (illustrated in colour, p. 112).
注意事项
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. VAT rate of 5% is payable on hammer price and at 17.5% on the buyer's premium. Please note Payments and Collections will be unavailable on Monday 12th July 2010 due to a major update to the Client Accounting IT system. For further details please call +44 (0) 20 7839 9060 or e-mail info@christies.com

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拍品专文

This work will be included in the forthcoming Gerhard Richter Catalogue Raisonné, edited by the Gerhard Richter Archiv Staatliche Kunstsammlunger Dresden.




The iridescent mesh of colours that define Gerhard Richter's Heu mark it out as one of the most lyrical contributions to his ambitious abstract paintings project. This two metre tall canvas is one of only five similarly proportioned abstract works to be completed in 1995. It is amongst the largest formats to be used during this period and its human scale makes for a deeply engaging visual experience. For this series of works Gerhard Richter named all of the paintings after agricultural plants to recall the natural associations inherent in the physical presence of the painting. Richter's abstract pictures are frequently noted for their strident, almost acidic use of colour, but in this canvas he has created a luminous surface from diaphanous veils of pigmentation. The paint is pulled down the canvas in a broken axis of vertical striations and horizontal smears, under which it is possible to observe additional layers of colour below.

Opposing moods are elicited in the hazy, scumbled hues and the bold passages of bright white that threaten to dissolve and break apart. These seemingly blank areas dominate the painting, immediately instilling a sense of expansive space. The ethereal, self-cancelling quality of white has proved a useful tool to reductivist painters since the turn of the twentieth century and Richter has recently pushed the boundaries of white abstraction in a series of near monochrome paintings exhibited in New York in 2009. Yet it was in paintings like Heu that the achromatic pigment took a leading role in perfecting his method of constructing a picture through palimpsestic actions and erasures. White's inherent ability to reflect, rather than absorb light lend this canvas a shimmering quality, whilst its augmentations of blues and greens bestow a ravishing beauty that is redolent of Claude Monet's Nymphéas. Heu is not intended as an abstraction from something, however, as it has no basis of referents in the observable world. It instead performs as an incredibly active zone of potential that forces the viewer to consider how pictures are seen and read, and also how they are made.