Konstfacks bibliotek

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*008230118s2022    maua|||||b||||001 0|eng| 
*020  $a9780262543538$q(paperback)
*020  $a0262543532$q(paperback)
*035  $a(SE-LIBR)hzzsg0k1fl7vwj6t
*041  $aeng
*050 0$aND588.R48
*08200$a759.3$223
*084  $aIe-f$2kssb/8 (machine generated)
*1001 $aBuchloh, B. H. D.$4aut
*24510$aGerhard Richter :$bpainting after the subject of history /$cBenjamin H.D. Buchloh.
*263  $a2204
*264 1$aCambridge, Massachusetts :$bThe MIT Press,$c[2022]
*300  $axxxi, 661 pages$billustrations (some color)$c23 cm
*336  $atext$btxt$2rdacontent
*337  $aunmediated$bn$2rdamedia
*338  $avolume$bnc$2rdacarrier
*4900 $aOctober books
*500  $a"An October Book"
*504  $aIncludes bibliographical references (pages 625-650) and index.
*5058 $aOrigins and ends of Gerhard Richter's Elbe -- Tisch: memory images and German disavowal in 1962 -- A nude in the neo-avantgarde: Ema (Nude on a staircase), 1966 -- Family pictures: the anti-aesthetic and the desire of painting -- Confronting abstraction: silences, voids, and evacuations -- Atlas: the anomic archive -- 4 Glass Panes (1965-1967) -- Work of mourning: divided memory and post-traditional identity -- The subject as specimen: 48 portraits at the Venice biennale in 1972 -- Abstractions: infinite and infinitesimal -- Abstract Cabinet -- A note on October 18, 1977 -- Glass works: from 4 Glass Panes (1965-1967) to Eight Gray (2002) -- More glass: cathedral window -- The diagram and the color chip: 4900 colors -- Voids and whites: the last paintings before the last -- Painting's double: another glass -- Drawing the conditions of drawing -- The chance ornament: painting progress, painting loss -- Documents of culture and documents of barbarism: Richter's Birkenau paintings.
*520  $a"An extended, critical appraisal of the contemporary German artist Gerhard Richter"--$cProvided by publisher.
*60010$aRichter, Gerhard,$d1932-$xCriticism and interpretation.
*60017$aRichter, Gerhard,$d1932-$2fast
*650 7$aART / General.$2bisacsh
*655 7$aCriticism, interpretation, etc.$2fast
*655 7$aEssays$2lcgft
*852  $5Ko$bKo$cKONST -$hIbz Richter, Gerhard
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*887  $5Ko$a{"@id":"5ngx74583zj14nn1","modified":"2023-08-21T14:09:28.975+02:00"}$2librisxl
^

The first full-scale monographic study in English of one of the most important artists of the second half of the twentieth century.

In this first full-scale monograph in English on the German painter Gerhard Richter, the distinguished art historian Benjamin H. D. Buchloh maps the unfolding of Richter's ever more complex and contradictory lifework. A painter in an age that disdains painting, a German confronting the impossibility of representing the historical trauma inflicted by his country upon the world between 1933 and 1945, a European artist in dialogue with his American counterparts, Richter (b. 1932) is shown by Buchloh to be a unique and singular artist, outside and beyond every other formation contemporaneous with his own development and evolution.

What emerges from Buchloh's detailed analysis of Richter's key works is a far more complex set of painterly strategies than has been previously assumed, strategies that have inverted and relativized all the principles of the modernist and even the postmodernist painterly aesthetic. In a series of essays that proceeds chronologically, Buchloh begins with Elbe (1957), seeing it as a foundational moment in Richter's confrontation with Socialist Realism, and goes on to consider such works as October 18, 1977 (1988), the series of representational photo-based paintings of Baader-Meinhof members; Richter's glass works; and the late group of Birkenau Paintings (2014). Richly illustrated in color, dense with insights that represent half a lifetime of engagement with Richter's work, this book will stand as the definitive, essential examination of a major contemporary artist.