Customer Reviews

Gerhard Richter: Forty Years Of Painting

5 star:		(9)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

The text:
First, there is the 75 page introduction Storr has written, placing the work in historical perspective. Why a retrospective, why now? Following this is the history of Richter's development from student to backwater (non-American) Pop artist with extensive references to other influential artists and reproductions of their work. Storr goes often beyond Richter's statements to supply his (Storr's) own close reading of the paintings. He finds Richter hides behind humor or simple misreadings of the work in order to conceal emotional attachment to themes.

Following is a valuable 22 page interview conducted in 2001. Robert Storr is an absolutely worthy interrogator of the artist. Storr had a previous extensive interview with Richter in '96. The text in Forty Years builds significantly on the ground covered previously. The two men are so in tune to each other, I miss the almost taunting flavor of the interview found in "The Daily Practice of Painting" between Richter and Benjamin Buchloh. Every page of the interview contains surprises or important points regarding Twentieth century art. Often, Storr's well-formed questions run a good paragraph long with Richter responding quite briefly and not too predictably. One could read the interview in random pieces, as themes develop over a few rounds of questions then the subject is often changed.
There is also a chronology outlining significant events both in Richter's career & artistic production as well as outside events such as student demonstrations, the fall of the Berlin Wall, various marriages.

The reproductions: I knew I was holding quality when I saw the two different studio shots that grace the front & back inner covers. The scholarly introduction has a few pictures of work not in the MOMA exhibit. The plates are arranged basically in the order one would encounter them at MOMA. The 8 Students nurses are grouped (all 8 span just 2 pages) as are the 48 Portraits (spanning 11 pages). What the reproductions can't show is that "Kitchen Chair" "65 & "Barn" '84 are the representational works with as much surface action as the abstracts. And the Baader-Meinhof series has a 3-page foldout out to enjoy the Confrontation I, II & III. Several of the large abstractions are placed on 2-page spreads; this is necessary to see their surface.

What becomes apparent from this book is that Richter is dedicated to the humanistic (and retinal) tradition of the endeavor of painting; most significantly Richter is not at all threatened by new developments in contemporary art - rather he attempts to understand the latest developments and incorporate them into genuine expressions from his "daily practice".

A lot of words been written lately about the unexpected revival of painting fueled by the current Gerhardt Richter painting retrospective captured in this book. It seems, according to some influential art scribes writing in the trail of this traveling exhibition, that the much heralded demise of painting, much like Mark Twains death, has been greatly exaggerated. Showcasing about 120 works over a 40-year period, this book is one of the most comprehensive retrospectives ever mounted about a contemporary painter in recent memory, and that by itself is a strong enough reason to buy it. However, it is what has been proven by Richters career and accomplishments, and unexpected stature in the art world (Sothebys recently dubbed him the most influential living artist in the world) and now driven home here, that makes this a-once-in-a-lifetime opportunity to learn some lessons about the contemporary art world. You see, Richter doesnt fit the formula for success that many art curators and influential critics and other art powers-that-be have carefully crafted in the rarified atmospheres of the upper crusts of the art world. In fact, Richter breaks every rule that often starts being pressed upon 18-year old art students and then is hammered home in reviews and lectures by many contemporary art critics and curators. Rules like you better have your own recognizable style! or only new is good and the oddest rule of all: painting is dead! But Richter is not only a painter in an era forced to focus on video artists, performance stars and PhotoShop wonders, but also Richter wanders from style to style with an ease and speed that makes this book a lesson on half a dozen art movements of the last century beautifully continued onto the current one. Thumb through the pages here and youll soon discover that Richter is as much as ease with photorealism  some ultra sharp and some foggy in detail -- as he is with pure abstraction and with romantic paintings of pretty clouds and scenic waterfalls. This is an artist who is not just happy with thumbing his nose at the well-enforced rule that a good artist has to have a clearly identifiable style and do something new, but who also seems intent on destroying the other forced formulas of the modern art world: he copies other artists works, works directly from photographs, blah, blah, blah  all sins that would make all my art professors and most art critics sigh in disgust. But above all, Richter paints, and he paints in a time when painting has been dismissed as ailing and ancient. New is good, technology is good painting is dead. Why does Richter paint? Doesnt he get it? NOPE!! Its because it is all about painting! And managing to make fools of critics who forget that their job is to follow the artist  not to lead the arts. What those who consider painting an ailing form will never understand (mostly because they are not painters), is that Richter cant and wont stop painting, because through his veins runs the same intoxicating venom that fueled their ancestral kin in the caves of Altamira and which will continue to drive painters long after todays critics and curators are forgotten dust. This book shouts: Art does not have to be new to be good, and technology is not the only venue to deliver great new contemporary art - it also continues to prove that painting will never die.

Behold, German painting! In a country whose artists tend to lay the paint on blut and thick, Richter is a notable contrast. He represents, along with Sigmar Polke, the best of a school of European painters who assimilated the American Pop Art scene. Don't expect the blazing cartoon colors of Lichtenstein though, Richter is a painter's painter, who has more depth and soul than Warhol ever could (surely by his own admission). But Richter's subject matter also comes from the mundane: a faded family snapshot, a clipping from a newspaper. Bits of emphemera blown up a hundred times and immortalized in oil paint. Clement Greenberg might abhore Richter's work more than the American Pop Artists: here is grand kitcsh by the hand of a master painter.
*note that I speak mostly of Richter's representative work, of which the book mostly focuses on. Also, the large Richter retrospective, having left N.Y., is still touring America for those interested

Gerhard Richter is one of the finest Pop artists of the 20th century. ("Pop" because he is highly non-ideological, even depicting ideological subjects in a completely neutral fashion. His works are plain-old nice to look at.) This book is a beautiful representation of his work, chock-full of his painting, from his earliest works to his most recent, printed nicely in full color. It is specifically the catalog for the exhibit of his works at MOMA in early 2002 (which this reviewer attended, with great delight), but the exhibition was so broad, with a wide range of paintings across Richter's full career, the number of paintings in this book is satisfyingly broad.

Richter has dabbled in many styles, and continues to produce works to this day, but most often works with abstraction or semi-abstraction. His sense of color is wonderful, and his sense of vision is superb, by which I mean his paintings force you to stop and stare for long periods of time. Many of his paintings are like photographs taken just slightly out of focus. (He uses a projector, but modifies the image just enough to make you know a human did the work.) Their beauty truly makes you look long at them, and their skill makes you wonder how a person can achieve such subtle effects of lighting in painted oil on canvas.

This book also contains good explanations of Richter's work, but these can become tiresome at times. The worst is that the reviews and the plates are not indexed very well, so it is frustratingly difficult to find a given work, either in the list of plates, or in the various texts. This is a major disappointment, but never mind. The reason to purchase this book is the art. The text is explanatory enough to teach the reader about Richter's career and work, and serves its purpose well enough.

It is not clear whether the reader unfamiliar with Richter's work, or who has not seen it in person, can enjoy this book on its own merit, but for the reader even slightly aware or curious of Richter's career, this is a welcome volume for the library.

Richter has garnered a lot of attention this past season in New York with a retrospective, and judging from this book, quite deservedly so. There is a wealth of examples from Richter's work from the past forty years, and the quality of the prints are uniformly excellent. Storr's critical stance and biographical introduction run about 70+ pages, and they are very helpful for a person who is just learning about Richter's work, and still remain informative for his old fans. The interview included is enlightening, too. This is one of the better artist retrospectives to have come out in the past few years. Highly recommended.

This is how we should all critic art. Look more for the man who can travel through mediums to reach a better explanation of his work. Most art is grab a great idea and wear it out. What a vocabulary this man has. He has explained his art through these mediums so much better than a single way can show. We must demand artists use different ways to talk to us and go beyond their comfort way. Thank you Mr. Richter

If you missed Mr. Richters' long overdue retrospective, currently travelling the country, then this book is an excellent runner-up. Mr. Storrs concise interviewing and cataloguing offers readers a clear insight into one of the worlds' most prolific living painters. The chance to view Mr. Richters' work in the round, from 1962 to the present, including abstact and figurative and sculpture, is available only in this book and provides an excellent resource for art buffs and students alike. A perfect compliment to a fantastic show.

This was a gorgeous show, but kind of conservative -- made Richter into the new "master" of painting, sidelines all his weirder and more "conceptual" work. And why does Robert Storr have to try so hard to put himself at the center of everything?? I saw the Richter show in SF around 1990, so no, this is NOT "the frist American retrospective." And Storr's dismissive (and often really uninformed) treatment of other critics (especially German critic Benjamin Buchloh, who's written on Richter for like, decades) shows what a limited writer and scholar Storr really is. But for better or worse, the pictures are great, and a lot of the other material is really good.

Unbelievable book. Wonderful reproductions of the brilliant Gerhard Richter's work and wonderful words by the brilliant Robert Storr. The interview in the back between the two is my favorite. This is the definitive book on Gerhard Richter. I would recommend it to anyone. This book generally retails in museum stores for $85, by the way.

the book that i got is pretty beat up, but i got it at what i would consider a fair price.