Gerhard richter's Artistic Transformation

With Conrad? 1966, richter and Rueger exhibited their works in the patio gallery in Frankfurt with the satirical and exaggerated title "The Best German Art Exhibition". In the same year, he held an exhibition with Siegmar Poelke in H Gallery and Brinchi Palermo in Ernst Gallery in Hanover 1970. In the early days of Dusseldorf, richter attached great importance to friendship and unity with other artists. He wrote in 1964: "communicate with artists who share my thoughts-a group is very important to me, otherwise a person will accomplish nothing." Some of our ideas are formed through communication. Being isolated in a village doesn't suit me. People depend on their environment. In this sense, communication with other artists, especially the cooperation between Lueger and Poelke, is very important to me, and it becomes part of the information exchange I need. " Soon, richter gave up the non-image painting style that originally followed JeanFautrier and JacksonPollock. As early as the end of 1962, the new theme began to attract his attention. The media photography in the weekly provides him with an inexhaustible new theme storage. At the same time, this theme rejected the informal painting that required artists to participate in it personally. In addition, the media nature of the theme has produced a certain distance. For example, richter's later works and even his works from 1976 show this distance. In his 1960' s photographic realistic painting, he reflected the distance through the combination of the media nature of the model and painting. The most prominent features of this painting are gray photography and unclear theme. The portrait of "Secretary" painted by 1963 and the white border of "XL5 13" painted next year show the media nature of the original material of the painting. In some other works, such as 1965' s color painting "Alfa Romeo", gerhard richter even incorporated part of the model's style into the painting.