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Gerhard Richter: Without Color [Hardcover]

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Item description for Gerhard Richter: Without Color by Gerhard Richter...

Without Color presents an important group of paintings from Gerhard Richteris oeuvre: works without color--on which the painter ordinarily relies. The (non-) colors, black, white, and gray have always played an important role in Richteris art. Spanning four decades, from the early 1960s to the present, the broad, fascinating spectrum of these colorless paintings ranges from representational works based on black-and-white photographs, to entirely abstract paintings. Richter needs no more than a palette of grays to create impressive works in the traditional genres of history painting, portraiture, landscape, and still life. He explores the fundamental aspects of painting in images composed of streaks of gray, overpainting, and monochromatic gray color fields. The outcome is a cross-section that incorporates everything painting can mean today--while focusing on the innermost essence of painting through the paradoxical renunciation of color.

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Item Specifications...

Pages   96
Est. Packaging Dimensions:   Length: 11.42" Width: 8.86" Height: 0.79"
Weight:   1.76 lbs.
Binding  Hardcover
Release Date   Mar 15, 2005
Publisher   Hatje Cantz Publishers
ISBN  3775715835  
ISBN13  9783775715836  

Availability  0 units.

More About Gerhard Richter

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Gerhard Richter was born in 1932.

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Product Categories

1Books > Foreign Language Books > German > All German Books
2Books > Foreign Language Books > German > Arts & Photography
3Books > Foreign Language Books > German > Nonfiction
4Books > Subjects > Arts & Photography > Art > Art History
5Books > Subjects > Arts & Photography > Artists, A-Z > ( P-R ) > Richter, Gerhard
6Books > Subjects > Arts & Photography > Artists, A-Z > General

Reviews - What do customers think about Gerhard Richter: Without Color?

art in the margins of process ,working and existence  Apr 27, 2006
Richter has tried his hand in all genres,he is not afraid of failure, or merely constructing "dead" spaces, although nothing in art is ever "dead", it always has your attention; and there is a meaning there a content in not having an external focus, one that is readable to his viewers, this position assumes that art is something else, like the interesting quote of Adorno on philosophy that the reason it lives on is that the moment to realize it has passed, so to one can say of art. The use of monochromatic colours,one-dimensional is quite subtle exposition of this position, it means the artist is reduced, marginalized,flattened like its materials itself having a voice takened away like a voice that is "harsh" from over use,representation is nothing now,it is merely "work" transformation of materials, but here one finds one's voice,like one having in music perfect pitch, so to having a vision inside you for colour, and form,never goes away, and we know it when viewing art; art perhaps it now is only a caricature of what it once was.The shelf life of art is morphed eclipsed by its own processes. Many claim that Richter is not even a painter,well perhaps not as history would have one, was Pollock a painter? the squigee series of Richter is ample proof of allowing your materials to take over,the paint is arbitrary ,yet it is allowed to speak to have its own violence un-referenced;yet there is both some reserve here, not allowing a subjectivity into the proceedings yet allowing the paint to speak for itself through a shape, a form;although you still cannot see where the autonomous process ends and Richter begins,One Colour allows much to happen, you reduce one dimension only to make others more intense; his work still allows one to lead you into an area for contemplation even if it is only to take the pulse of art, that it has been reduced to whatever you see it is, similarly in the other arts things, objects, icons, materials being manipulated,rendered,placed, re-placed,surrounding it with a context already exisiting in the real world,at least allows the artist a means to create.Art may be simply setting a stage, a place for something to happen, or merely seeing what has already happened, as with the work of natural photographers,who play with the complexity of light minimally, yet I am drawn more to thses phots more than paintings. Perhaps because painting there are more decisions to make, ones burdened with the bagage of the museum. Richter has worked through this paradigm himself.He has done work simply for himself not others, as his early photographs
study of a vein of major artist's work  May 1, 2005
While Richter's art works without color may not have received the attention as his other works, they make up about one third of this major contemporary artist's work. "The absence of color has become a leitmotif" of Richter's career of more than 40 years. The works without color are more than a contrast, like a shadow, alluding to primary works. For Richter, colorlessness has its own status and value. Richter remarks, "Gray is the welcome and only possible equivalence for indifference, non-commitment, absence of opinion, absence of shape." About 40 works of different shapes, sizes, and mediums in various shades of light and dark from a smoke-like gray to a dense, pitch, black with occasional flecks or limited hues of color illustrate Richter's regard of gray. One cannot understand Richter's place as one of the foremost contemporary artists nor his intents as an artist without taking into account this "motif" of his art based on this regard.

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