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

Fuji

细节
Gerhard Richter (b. 1932)
Fuji
signed 'Richter' (on the reverse) and numbered ‘839-94’ (on a paper label affixed to the reverse)
oil on aluminium (Alucobond Plate)
14¾ x 11½in. (37.5 x 29.2cm.)
Painted in 1996
来源
Galerie Fred Jahn, Munich.
Private Collection, Germany.
Acquired from the above by the present owner in 1997.
出版
Gerhard Richter 1998, exh. cat., London, Anthony d'Offay Gallery, 1998, p. 107, no. 839/1-110 (another from the series illustrated in colour, unpaged).
H. Butin (ed.), Gerhard Richter Editions 1965-2004 Catalogue Raisonné, Ostfildern-Ruit 2004, no. 89 (another from the series illustrated in colour, p. 238).
Gerhard Richter Werkverzeichnis 1993-2004, exh. cat, Dusseldorf, K20 Kunstsammlung Nordrhein-Westfalen, 2005, p. 312, no. 839/1-110 (another from the series illustrated in colour, unpaged)
H. Butin, S. Gronert and T. Olbricht (eds.), Gerhard Richter Editions 1965-2013, Ostfildern 2014, no. 89 (another from the series illustrated in colour, p. 260).
H. Butin, Gerhard Richter, Unique Pieces in Series, Cologne 2017 (another from the series illustrated in colour, pp. 134 and 135).
展览
Munich, Städtische Galerie im Lenbachhaus, Serielle Strukturen. Die Sammlung I, 1996.
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.

拍品专文

‘I want to end up with a picture that I haven’t planned. This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture. Each picture has to evolve out of a painterly or visual logic: it has to emerge as if inevitably’ —G. RICHTER


The present three works are spectacular examples of Gerhard Richter’s Fuji series. A sequence of 110 unique paintings, Fuji was conceived in 1996 to aid the Städtische Galerie im Lenbachhaus, Munich, in its purchase of Atlas – a collection of photographs, newspaper cuttings and sketches that the artist has been assembling since the mid-1960s. Much as Atlas discloses Richter’s inspirations and working method, the Fuji works tell the story of their creation in shifting layers of addition and concealment. Displaying Richter’s distinctive abstract language on an intimate scale, each painting presents an exuberant chromatic fusion of red, orange and viridian oil paint on aluminium, overlaid with a squeegeed layer of white that drags the surface into symphonic splendour. Gliding transitions of colour are accompanied by abrupt breaks that reveal shimmering gradients beneath, creating the electric dialogue between chance and control that distinguishes Richter’s work.

As variations on a theme, the Fuji paintings appropriately echo the hues of Katsushika Hokusai’s iconic woodblock series 36 Views of Mount Fuji (1826-33). Where Hokusai depicted the mountain from multiple viewpoints and varying weather conditions, Richter exults in the infinite spectra of chromatic combination and textural nuance occasioned by his process. From a strictly defined palette he conjures an astonishing range of radiant tonal relationships: surfs of seafoam green offset flickering zones of fiery depth; canyons of malachite plunge through bright swathes of white. ‘I want to end up with a picture that I haven’t planned,’ Richter has said. ‘This method of arbitrary choice, chance, inspiration and destruction may produce a specific type of picture, but it never produces a predetermined picture. Each picture has to evolve out of a painterly or visual logic: it has to emerge as if inevitably’ (G. Richter, quoted in D. Elger, Gerhard Richter: A Life in Painting, Chicago 2009, p. 312). In their vivid, jewel-like beauty, these works capture the majesty of an artist who has mastered his medium.

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