Gerhard Richter

Galerie Fred Jahn, Munich
Private collects ion, Germany
Salis & Vertes Gallery, Salzburg
Acquired by the present owner from the above

Bielefeld, Kunsthalle; Mannheim, Kunstverein, Abstrakte Bilder, January - May 1982

Jürgen Harten, Gerhard Richter: Paintings 1962-1985, Cologne, 1986, no. 454/2, p. 228, illustrated
Angelika Thill, et. al., Gerhard Richter Catalogue Raisonné: 1962-1993, Vol. III, Osternfildern - Ruit, 1993, no. 454-2, illustrated in color

This work is in very good condition overall. There is a faint evidence of wear to the lower corners. Otherwise there are no apparent condition problems with this work. There is no evidence of restoration visible under UV light. Framed in a black wood frame.
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Through the process of destruction, Gerhard Richter created the dense layers of brilliant colors that form Abstraktes Bild. Moving away from the liberated qualities found in his earlier experiments with abstract compositions, here Richter becomes more focused and controlled, diving deeper into his fascination with the process of painting.  Throughout his career, Richter has attempted to expand his mastery over the mechanics of oil paint. He does not begin his abstract paintings with any pre-conceived notion or idea of what he will achieve. Rather, each painting in the Abstraktes Bild series is an experiment with the medium of oil paint and application technique. It is as if Richter is more interested in seeing what the paint can create rather than what he can create. Using a squeegee to apply paint, Richter relinquished total control over his media and imparts his tools with the power to generate fresh and surprising interactions. In Abstraktes Bild, Gerhard Richter is not concerned with the expression of an abstract form, he is concerned with the very process of painting itself. The variety of interactions and beautiful undulation of color, showcase Richter's ability to balance the art of control and the element of chance.