Gerhard richter's abstract painting creation

Richter's abstract paintings were not drawn spontaneously at will, but were divided into many working steps and completed slowly over a long period of time. The seemingly vivid brushwork is actually calculated and considered. At the same time, this abstract painting provides him with the opportunity to match the most heterogeneous shapes and colors. It is precisely because of richter's deliberate avoidance of traditional composition that he constantly rejects any procedural or constructive standards when he looks for the analogy of the real world he can see in the window frame. For him, it is important to put down the work process as long as possible, and at the same time avoid only executing a painting plan determined before starting. Richter questioned every completed work stage, and if necessary, he could destroy it in the next stage to regain the openness of his works. Imitating the abstract painting of the natural world seen from the window frame, it creates an intuitive model of the real world that is more and more complicated, more and more in need of explanation and more and more uncontrollable. This model is a derivative of reality, which is different from richter's mirror painting. They not only reflect the reality, but also pay attention to its natural model, such as convex lens, and only concise its most important features. As early as 1964/65, Richter mentioned similar conciseness in his early photography about soft style: "Maybe I will also erase redundant and unimportant information." Although such abstract paintings can neither explain the relevant reality nor solve its problems, they can still be gratifying. In these paintings, what is not intuitive becomes intuitive, because the works-as richter said-have "clear materiality". So it exists as an object in the real world. Although the photographic works drawn according to the photographic model and the later romantic landscape paintings make the viewer get the integrity of the real experience, gerhard richter must make the next decision in the long-term creative process to achieve this effect in his abstract paintings.

1988, richter painted a 15 gypsum relief in a photographic realistic style, with the controversial Bader-Meinhof gang as the theme. The gang made a series of explosions, assassinations and bank robberies, which triggered retaliation from the police and the court. The gang leaders AndreasBaader and UlrikeMeinhof died in prison, but the cause of death is unknown. There are many theories about this matter, but none of them is convincing. The atrocities of criminal gangs, the revenge of the government and the death of gang leaders have caused continuous debates, which have greatly affected the psychology of the people in West Germany and caused great harm. The funeral of terrorists was held on June1977+1October 18. Richter took this as the title of his work. This painting is based on photos taken by police stations and news media, but only those horrible limb fragments or special scenes related to life and death are selected to show it. These images are drawn in black and gray, which are blurred and sometimes difficult to distinguish by brushing or wiping. This painting is shrouded in a kind of sadness, depression and pity, which seems to show death itself. Richter was obviously puzzled by the Bud-Meinhof incident. He wrote: the death of terrorists and all the related events before and after this show an extreme ugliness and absurdity. They gave me a strong impact. In his view, they are not the victims of a particular left or right ideology, but the victims of the ideology itself. Any extreme ideological belief is unnecessary and life-threatening. Although richter's attitude towards terrorists and their guards is still unclear, the controversy caused by his works has undoubtedly played a role in perpetuating this problem.