Whenever Gerhard Richter goes to Sils, a small town in the Swiss Alps, he makes photographs, some of which he overpaints and adds to his Atlas. Others he treats as autonomous works, as in those presented in this intimate artist's book. In the overpainted photographs, the levels of reality evident in photography are combined with those that exist in painting. However, the paired concepts prove redundant of both the realism in photographic representation and the abstraction in nonfigurative painting. The photographs reveal a parallel between both forms of painterly practice, evidence of the simultaneous existence of contradictory bodies of work in Richter's oeuvre.
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Gerhard Richter was born in 1932 in Dresden, Germany. Since the early 60s he has emerged as one of the essential painters of the postwar period, pioneering photorealism with paintings made from found photographs (amateur snapshots, advertisements, and book and magazine illustrations) and then from his own photographs. His work has also profoundly engaged with and influenced such genres as pop art and abstract art, and was recently the subject of an acclaimed retrospective that opened at The Museum of Modern Art, New York, and traveled around the United States.
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