Opening on May 23 Gerhard Richter Seascapes

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Gerhard Richter,Dates May 23 September 9 2019, Curated by Luc a Agirre Curator Guggenheim Museum Bilbao. Gallery 304 third floor, Over the course of three decades Richter created seascapes in different formats colors and styles. from abstract seascapes in which the horizon can barely be made out to those in which the. photographic realism of the sky is only nuanced by an ambiguous light. Shrouded in clouds or totally still his skies occupy much of the canvas in his seascapes and are only. occasionally eclipsed by the sea, Richter seeks to create the perfect image and draws from the sky and the sea at different times in. an illusory composition in which perspective and light manage to ensnare the viewer. The Guggenheim Museum Bilbao presents Gerhard Richter Seascapes a unique chance to view the. largest set of his celebrated seascapes ever assembled to date Richter s seascapes are not mere depictions. of nature On the one hand they challenge the viewer s perception by painting in a way that resembles. photography Richter manages to achieve an extraordinarily smooth surface by applying highly diluted. pigment and blurs the image as happens in some snapshots On the other hand Richter embellishes the. landscape in his quest for perfection in some works the sky and the sea actually come from two different. images that he fuses becoming almost interchangeable and thus leaving the viewer to identify each of. Gerhard Richter was born shortly before the outbreak of the World War II in Dresden which would. become a part of East Germany following the end of the conflict His interest in the Informalism and. Expressionism developing on the other side of the Iron Curtain quickly led him to abandon his hometown. In 1961 he moved to D sseldorf where he met Sigmar Polke Blinky Palermo and Konrad Fischer among. other artists Even though Richter had made several paintings based on photographs before then he. considered the works he made after 1962 his first photo paintings In his quest for a new beginning these. new works signal a turning point in his career, At first the sea served as the backdrop for his portraits shots which come from a family album These. forerunners include beach scenes like Renate and Marianne Renate und Marianne 1964 in which he. shows his wife and sister in law on the sand or Family at the Seaside Familie am Meer 1964 another. blurry family portrait in which the figure of his father in law dominates the scene Shortly thereafter in. Deckchair Liegestuhl 1964 the human body becomes vaguely hinted at and viewers are unable to. identify the model as they could in his earlier works In 1965 he made a small landscape in gray tones. merging figuration and abstraction in what we can perhaps boldly consider his first seascape Landscape. Landschaft 1965,Tour of the exhibition, The signature grays of Richter s works which stayed with him throughout his entire career and which he.
defined as absent of opinion are also present in this first work entitled Seascape Seest ck from 1968. included in the exhibition This is a small oil on canvas with a clearly horizontal format as if it had gone. through the anamorphic lenses of a cinemascope In it one glimpses an infinite horizon and tiny eddies of. what may be white foam where the materiality of the paint becomes thicker revealing the artist s. brushstroke This is a work which could well depict a desert landscape but the title tells us we are seeing an. ocean which seems to be enveloped in a diffuse light and an ashen atmosphere Three decades and 22 oil. paintings on canvas separate this seascape with no figures from the last one that the artist painted in 1998. which is part of the Guggenheim Museum Bilbao Collection Over these years Richter presented. landscapes in different sizes and formats colors and styles Thus an abstract seascape in which the horizon. line can barely be made out is preceded and followed by others in which the photographic realism of the. sky is only nuanced by an ambiguous light Shrouded in clouds or totally still his skies occupy much of the. canvas in his seascapes and are only occasionally eclipsed by the sea. In Seascape Wave Seest ck Welle 1969 which belongs to the collection of The Modern Art. Museum of Fort Worth Texas two thirds of the canvas are covered with a stormy sky in varying shades of. gray with light emerging amidst the clouds as if it were a divine manifestation This effect most likely due. to the fact that the light in the sky does not correspond to its reflection on the sea was not intentional on. the part of the artist who views light as yet another element of nature I was never interested in light Light. is there and you turn it on or you turn it off with or without sun I don t know what the problematic of light. is MoMA interview with Robert Storr 2002, In some of his seascapes Richter starts with a collage of two different photographs one of the sky and the. other of the sea just as the French researcher and photographer Gustave Le Grey did before him in the. 19th century Richter thus seeks to create a perfect image using a sky and a sea at different times in an. illusory composition in which perspective and light have something that ensnares the viewer These. photomontages are recorded in Atlas the great encyclopedia archive of images that the artist began to. compile in the early 1960s and has continued to expand since then In Seascape Morning Mood. Seest ck Morgenstimmung 1969 the light that emanates from the horizon line precludes the utter. darkness of the ocean This work which belongs to the collection of the Mus e D partemental d Art. Contemporain of Rochechouart has the same format and was painted the same year as Seascape with. Olive Clouds Seest ck oliv bew lkt, While in the former the sky appears blue and cloudless in the latter it takes on a golden tone conferred by. cottony clouds yet they both share a flatness that seems to erase the painter s hand Also from 1969 but in. a square format and larger size are Seascape Cloudy Seest ck bew lkt and Seascape Green grey. Cloudy Seest ck gr ngrau bew lkt two totally different landscapes from the Neues Museum. Nuremberg and a private collection respectively, Many critics have related Richter s seascapes with the landscape paintings from the 19th century German. Romantic painter Caspar David Friedrich because both artists deal with nature in a similar fashion Richter. himself said in an interview I find the Romantic period extraordinarily interesting My landscapes have. connections with Romanticism at times I feel a real desire for an attraction to this period and some of my. pictures are a homage to Caspar David Friedrich Conversation with Paolo Vagheggi 1999. If we compare Richter s seascapes with Friedrich s work especially paintings like his Monk by the Sea. 1809 we immediately notice that while both show nature s sublimity the monumental scale in Friedrich s. work is evidenced by the addition of tiny figures while Richter s seascapes lack any reference that would. reflect the real scale of the landscape Thus the size of the canvas is what provides the measure of the. seascape to the viewer who somehow plays the role of the monk. Among the works in this exhibition what draws our attention because of its apparent disparity is Seascape. Gray Seest ck grau 1969 This is a small painting in which the strong abstract brushstrokes make the. specificity of the seascape disappear transforming the work into a monochromatic gray canvas The gray. paints which Richter began to work with in 1967 which he himself said display the most rigorous. illusionism are initially canvases in which an abstract work emerges from a concrete one as if it sought to. nullify or perhaps harbor an image However the title of the work and the horizon line which can be seen. in the different gray layers brings the viewer back to the seascape. As if it were the antithesis of the aforementioned work the exhibition includes a large charcoal work on. cotton Seascape Seest ck 1970 reminiscent of the first oceans or seas drawn in graphite by the Latvian. American artist Vija Celmins The work lacks a horizon line as the sea occupies the entire canvas or. perhaps the sky does and the viewer does not know where he or she is A small drawing with 17 seascapes. rendered in graphite and pen are displayed next to it variations on the theme which substitute for the. photographs collected in other mediums such as Atlas. The last seascape in Gerhard Richter s career Seascape Seest ck 1998 belongs to the Collection of the. Guggenheim Museum Bilbao and it marks the closing of the artist s analysis of this subject As Richter. himself said these landscapes help him convey his yearnings Though these pictures are motivated by the. dream of classical order and a pristine world by nostalgia in other words the anachronism in them takes. on a subversive and contemporary quality, N de la T Quisi ramos confirmar que se trata de un extracto de las notas de 1981 Notes 1981. provenientes de la publicaci n de Richter The Daily Practice of Painting Writings 1962 1993 en 1995. traducida al ingl s por David Britt la edici n corre a cargo de Hans Ulrich Obrist por MIT Press. Massachusetts,Cover image,Gerhard Richter,Seascape Seest ck 1998.
Oil on canvas,290 x 290 cm,Guggenheim Bilbao Museoa. Gerhard Richter VEGAP Bilbao 2019,For more information. Guggenheim Museum Bilbao,Department of Communications and Marketing. Tel 34 944 359 008,media guggenheim bilbao eus,www guggenheim bilbao eus. All the information on the Guggenheim Museum Bilbao is available at www guggenheim bilbao es Press. Pictures for press use,Gerhard Richter,Guggenheim Museum Bilbao.
Online press picture service, You may register in the Press Room on the Museum s website prensa guggenheim bilbao es to download. high resolution photographs and videos of both the exhibitions and the building If you do not yet have an. account you can register and download the materials you need If you are already a user enter your. username and password to download the photographs directly. Images are lent for the sole purpose of editorial publicity related to the exhibition Lucio Fontana On the. Threshold on view at The Met Breuer from January 23 2019 through April 14 2019. Images must not be cropped detailed overprinted or otherwise altered or manipulated. Copyright credit must appear adjacent to all reproductions. Online images must have low resolution no greater than 72 ppi with a total image size no greater than. 4 12 megapixels no larger than 10 x 15 cm, For more information you may get in touch with the Press Room of the Guggenheim Museum. Bilbao by calling 34 944 35 90 08 or by emailing media guggenheim bilbao es. Gerhard Richter,Seascape Seest ck 1968,Oil on canvas. 40 cm x 80 cm,Private collection,Gerhard Richter VEGAP Bilbao 2019. Gerhard Richter,Seascape grey Seest ck grau 1969,Oil on canvas.
70 cm x 70 cm,Private collection,Gerhard Richter VEGAP Bilbao 2019. Gerhard Richter, Seascape with Olive Clouds Seest ck oliv bew lkt 1969. Oil on canvas,80 x 100 cm,Private collection Italy. Gerhard Richter VEGAP Bilbao 2019,Gerhard Richter, Seascape Green grey cloudy Seest ck gr ngrau bew lkt 1969. Oil on canvas,140 x 140 cm,Private collection,Gerhard Richter VEGAP Bilbao 2019.
Gerhard Richter,Seascape Seest ck 1998,Oil on canvas. 290 x 290 cm,Guggenheim Bilbao Museoa,Gerhard Richter VEGAP Bilbao 2019. The last seascape in Gerhard Richter s career Seascape Seest ck 1998 belongs to the Collection of the Guggenheim Museum Bilbao and it marks the closing of the artist s analysis of this subject As Richter himself said these landscapes help him convey his yearnings Though these pictures are motivated by the dream of classical order and a pristine world by nostalgia in other

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