This pivotal, personal portrait of one of the finest living artists should be viewed by anyone with a modicum of interest in art and the artistic process; it is stunning, illuminating, and positively thrilling.
Gerhard Richter, born in 1932, Germany, has a multi-layered history revolving around the second world war, dissection of Berlin, living in a politically -charged environment; his work is autobiographical on many levels. His influences are vast, from iconic Joseph Beuys, John Cage, American documentary photography (especially of WWII); he is assiduously devoted to his own moral aesthetic; like Les Nabis, prophetic in his vision.
Materials: cadmium, lemon yellow, black/white/gray tubes of paint, layered on squeegees up to six feet long; meticulously applied to canvasses; his empowered hand has a will of its own, oftentimes he is shocked with the results. Following his instincts, his masterpieces spring to life; addictive and subtractive techniques, dazzling the viewer.
He is an extremely private person, a curmudgeon and highly uncomfortable being filmed while working; but warm and genuine with his dealer Marian Goodman, a partnership stretching from the eighties, their mutual bond, palpable.
Truly enlightening is Richter’s grasp and use of contemporary technology in his creative process; over eighty, his present works are informed by digitalization; there are no roadblocks or parameters capable of stunting his remarkable gift.
“Gerhard Richter Painting” glows and reminds one of Percy Bysshe Shelley’s poem: “I am Ozymandius, King of Kings, look upon my works, ye mighty, and despair”; despairing at the ephemeral element of art, but exhilarated that Gerhard Richter has accomplished what few mortals have attempted.