Grün-Blau-Rot

細節

Gerhard Richter (b. 1932)
Grün-Blau-Rot
signed, numbered and dated 'zu 789 Richter, 93' (on the reverse)
oil on canvas
11 x 15in. (30 x 40cm.)
Painted in 1993

來源

Anon. sale, Ketterer Kunst München, 2 June 2006, lot 55.
Acquired at the above sale by the present owner.

出版

Parkett, no. 35, 1993 (another example illustrated in colour, p. 99).
B. Buchloh (ed.), Gerhard Richter Werksübersicht Catalogue raisonné 1962-1993, vol. III, Ostfildern-Ruit 1993, no. 789/1-115 (another example illustrated).
H. Butin (ed.), Gerhard Richter. Editionen 1965-1993, Munich 1993, no. 69 (another example illustrated in colour, p. 167).
H. Butin (ed.), Gerhard Richter Editions 1965-2004 Catalogue Raisonné, Ostfildern-Ruit 2004, no. 81 (another example illustrated, pp. 35 and 229).

注意事項

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.

榮譽呈獻

Carolyn Hodler

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拍品專文

'In abstract painting we have found a better way of gaining access to the unvisualisable, the incomprehensible; because abstract painting deploys the utmost visual immediacy of all the resources of art, in fact in order to depict 'nothing'. Accustomed to pictures in which we recognise something real, we rightly refuse to regard mere colour (however multifarious) as the thing visualised. Instead we accept that we are seeing the unvisualisable: that which has never been seen before and is not visible. This is not some abstruse game but a matter of sheer necessity: the unknown simultaneously alarms us and fills us with hope, and so we accept the pictures as a possible way to make the inexplicable more explicable, or at all events more accessible... So, in dealing with this inexplicable reality, the lovelier, cleverer, madder, extremer, more visual and more incomprehensible the analogy, the better the picture.' (G. Richter quoted in H.-U. Obrist (ed.), Gerhard Richter: The Daily Practice of Painting. Writings and Interviews 1962-1993, Cambridge 1995, p. 100).