Description of Gerhard Richter paintings

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Gerhard Richter is a German painter who followed more liberal work of his European and American contemporaries. His painting is basically employed as a means for exploring how images that appear to capture truth is often proved.

The elements of chance, and the play between realism and abstraction are the other common themes in his work. His relationship with photography lifelong fascination for the power of images and paintings.

He was born on February 9 to Horst and Hildegard Richter in Dresden, an average middle-class family. Gerhard Richter was their first child, with a daughter, Gisela, arriving in 1936. Horst Richter was a teacher at a secondary school in Dresden. His mother was passionate about literature and passed on her knowledge and enthusiasm to the young Gerhard

Below are some of his paintings:

1024 Farben(1024 Colours) (1973)

In his color-chart-based painting 1024 Farben (1024 Colours), Richter employs an orderly approach to the canvas. Richter chooses superficially reminiscent of the neo-Dadaist, the 1950s "Hard Edge" abstraction of Ellsworth Kelly to paint squares in orderly colors based on the predetermined structure of the color wheel. The artist's having arranged the color combinations with reference to an apparently logical, predetermining schema is the only intervention of the artist in an otherwise mechanical process seems to be his control of the scale of the canvas itself.

Abstraktes Bild (Abstract Painting) (1976)

In 1976, many of his works first employed the term "Abstract Painting" as a formal title such as this. Hazy, shallow atmospheric perspective was created through cool tones of purple and blue. The geometric shapes and lines are structured for the composition with 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 an explanation that was definitive for his abstract work, saying 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, real or artificial, as though slowly being trained in a new school of visual philosophy.

Clouds (1982)

Richter frequently alternates between realist and abstract styles in various series of work and clouds is an example of this style. Even the title bears an ambiguous relation to the entire composition. For instance, in the lower region of the canvas, Richter suggests that the viewer is having an effective experience of looking through a window. Nevertheless, scrapes, smudges, the bold tracks and the layer of paint above playfully cancel that optical illusion.