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Gerhard Richter (häftad, eng)
The first full-scale monographic study in English of one of the most important artists of the second half of the twentieth century.
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The first full-scale monographic study in English of one of the most important artists of the second half of the twentieth century.
In this first full-scale monograph in English on the German painter Gerhard Richter, the distinguished art historian Benjamin HD. Buchloh maps the unfolding of Richter’s ever more complex and contradictory lifework. A painter in an age that disdains painting, a German confronting the impossibility of representing the historical trauma inflicted by his country upon the world between 1933 and 1945, a European artist in dialogue with his American counterparts, Richter (b.
1932) is shown by Buchloh to be a unique and singular artist, outside and beyond every other formation contemporaneous with his own development and evolution.
What emerges from Buchloh’s detailed analysis of Richter’s key works is a far more complex set of painterly strategies than has been previously assumed, strategies that have inverted and relativized all the principles of the modernist and even the postmodernist painterly aestheticIn a series of essays that proceeds chronologically, Buchloh begins with Elbe (1957), seeing it as a foundational moment in Richter’s confrontation with Socialist Realism, and goes on to consider such works as October 18, 1977 (1988), the series of representational photo-based paintings of Baader-Meinhof members; Richter’s glass works; and the late group of Birkenau Paintings (2014).
Richly illustrated in color, dense with insights that represent half a lifetime of engagement with Richter’s work, this book will stand as the definitive, essential examination of a major contemporary artist.
In this first full-scale monograph in English on the German painter Gerhard Richter, the distinguished art historian Benjamin HD. Buchloh maps the unfolding of Richter’s ever more complex and contradictory lifework. A painter in an age that disdains painting, a German confronting the impossibility of representing the historical trauma inflicted by his country upon the world between 1933 and 1945, a European artist in dialogue with his American counterparts, Richter (b.
1932) is shown by Buchloh to be a unique and singular artist, outside and beyond every other formation contemporaneous with his own development and evolution.
What emerges from Buchloh’s detailed analysis of Richter’s key works is a far more complex set of painterly strategies than has been previously assumed, strategies that have inverted and relativized all the principles of the modernist and even the postmodernist painterly aestheticIn a series of essays that proceeds chronologically, Buchloh begins with Elbe (1957), seeing it as a foundational moment in Richter’s confrontation with Socialist Realism, and goes on to consider such works as October 18, 1977 (1988), the series of representational photo-based paintings of Baader-Meinhof members; Richter’s glass works; and the late group of Birkenau Paintings (2014).
Richly illustrated in color, dense with insights that represent half a lifetime of engagement with Richter’s work, this book will stand as the definitive, essential examination of a major contemporary artist.
Format | Häftad |
Omfång | 528 sidor |
Språk | Engelska |
Förlag | MIT Press Ltd |
Utgivningsdatum | 2022-09-06 |
ISBN | 9780262543538 |
Specifikation
Böcker
- Häftad, 528, Engelska, MIT Press Ltd, 2022-09-06, 9780262543538
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