Item description for Gerhard Richter: Portraits by Stefan Gronert & Hubertus Butin...
Already icons of the modern era, paintings such as Herr Heyde, 48 Portraits, Ema (Nude on a Staircase), Family at the Sea, Small Bathers, Reader, Moritz, and Betty prove the great importance of the portrait in Gerhard Richter's oeuvre. In an informative essay, Stefan Gronert follows the development of this genre in the artist's work, starting with the blurred black-and-white pictures of the 1960s and moving on to the more recent colorful panels. This book demonstrates how Richter pursues the theme of the portrait in his various types of work, as well as in all of the visual genres in which he works: painting, prints, drawing, photography, and film. During research, previously unknown portraits came to light and are published in this monograph for the first time. Some of them are presented in an essay by Hubertus Butin, who devotes himself to Richter's portrait photography of the 1960s.
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Est. Packaging Dimensions: Length: 1" Width: 7" Height: 9.5" Weight: 2.15 lbs.
Release Date Jul 1, 2006
Publisher Hatje Cantz Publishers
ISBN 3775717250 ISBN13 9783775717250
Availability 0 units.
More About Stefan Gronert & Hubertus Butin
Richter is considered one of Europe's most important painters.
Reviews - What do customers think about Gerhard Richter: Portraits?
photos of what? what is done Jul 11, 2008
photography has had a good run,beginning with in depth thinking before it was even developed; Walter Benjamin and Susan Sontag for instance have primary essays of this new art form, many believe photography may have killed the impetus of art,its independence,art now engages to make more the commodity element, which it seems to be art is for sale,in the millions$$ Nothing more ! the loss of aura, the fetish of the image as opposed to Marx's often referred to chapter in DAS KAPITAL,images do acquire a fetish,as "Marilyn" did or "Marlon Brando" ;Cindy Sherman has shown us these fetishizations and done well, adding new, off-center, content, respecting the commonplace particles, fragments of the banalities of Fifties,Sixties lifeworlds,showing us how she works, and that images are simply meant to be consumed, and consumed again, ad nauseum;.Richter does this as well but a wholly different sensibility,he hadn't the surface media reservoir to tap as Sherman; photography was more an escape a way for him to fill time before enlightenment hit, or perhaps nothing quite as pretencious, artist need to be connected in some way, so if you are not pressing the brush, something else needs to happen, With Richter I get the impression he is trying to comment on what photography is suppose to do, to introduce us to something we should know but don't like, our belief in where we are were and where we are going, We believe in the photo;its potential; what's in it, the truth content of it,We believe it because it is there,nothing we can do about that; but does the subject matter believe it?, the representaions themselves have an understanding of who they are, where they are, the particular spiritual place- places as Lucy Lippard has shown all have a truth content,a fetish reference;- if you know where to look. Richter takes all the voyeur "gazing" elements out of his subject matter,hewing,flattening out edges, de-contrasting the composition,magneticized to dull black n'white; subtracting the sharp fine lines, a "straffing" of the senses, saying photos are nothing more than a sequential counting of reality,as his a-matter-a-factly potrait series; no truth,only places,triggered objects; the jouissance is eradicating what the eye should know, even the Duchamp re-visitation "Nude descending. . ." is not startling, post-modernity is suppose to be exciting,playful,non-hierarchical, it is again just a signpost, evidence of something that happened, quite arbitrary; maybe saying "I am living in a pretty dull boring place righy now", DDR East Germany. But this is propaganda, any place can be made into art; and still the functions of the lifeworld complexities are there, away from the fetishizations of what we believe in,in the West. Sensibilities have been colonized in the West,it is more a function of our own hypocrisy, which is necessary; do we still beleive the Soviet colonies are not interesting places, as opposed to where? For Richter: Families still converse with each other,it is still a modern icon,people still do things together. For Richter he merely manipulates for some future work,all artists are quite arrogant here, never doing something that doesn't lead someplace,although never knowing where it leads.Photographers should be true believers if they don't expect profit from what they do, like atheists;living without fire insurance.Good evidence of a lifeline to creation.