葛哈·李希特全部影视作品
首发于 qinglite.cn，统计截止日：2025-02-18
 卢多夫 | - |
| 华莱士波因斯 | - |
| 车站 | - |
| 融合 | - |
| 冰2号 | - |
| 库尔贝 | - |
| 抽象画 | In 1976, Richter first employed the term "Abstract Painting" as a formal title for many of his works, such as this example. Cool tones of purple and blue create a hazy, shallow atmospheric perspective. The composition is structured with geometric shapes and lines that might at first appear as fractured icebergs emerging from the painted surface, only to settle down, as it were, into pure abstraction. Richter did not want to offer a definitive explanation for his abstract work, stating only that he was "letting a thing come, rather than creating it." Standing in relation to such work, a viewer begins to question whether what he/she perceives is fact or fiction, the real or the artificial, as though slowly being trained in a new school of visual philosophy. |
| 抽象画805-4 | - |
| 抽象画 第809-3号 | - |
| 抽象画 610-1 | - |
| 抽象画780-1 | - |
| 抽象的建筑 | - |
| 通道 | - |
| 科恩 | - |
| 抽象画第439号 | - |
| 红蓝黄 | - |
| 黑暗 | - |
| 彩色条纹 | In this example of one of his early grey paintings, Richter allows structure and color to compose the "picture." The painting is void of figuration and recognizable imagery, revealing Richter's indifference toward any "model" as serving as his subject matter. Richter employs thick brushstrokes and monochromatic color, thus sweeping across the canvas in a fluid, entirely fused motion. This powerful gesture suggests a consideration of how abstract forms may well serve as a painter's subject just as effectively, for their visual or optical interest, as any photographic or "realistic" scene derived from nature, or the "everyday world" around us. |
| 冰静（4） | - |
| 白云 | Clouds is an example of how Richter frequently alternates between realist and abstract styles in various series of work, as well as on a single canvas. In this instance, even the title bears an ambiguous relation to the entire composition. In the lower region of the canvas, for instance, Richter suggests that the viewer is having a perceptual experience of looking through a window; nevertheless, the bold tracks, scrapes, smudges, and layerings of paint above playfully cancel that optical illusion. Thus Richter is frequently fascinated by how a viewer's desire to extract "meaning" from a given work of art often proves utterly futile. He suggests that we might instead relish a simple experience of visual pleasure, or the discovery of "beauty" by way of studying abstract forms for their own sake. |
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