Over the course of his acclaimed 60-year career, Gerhard Richter (b. 1932) has employed both representation and abstraction as a means of reckoning with the legacy, collective memory, and national sensibility of post–Second World War Germany, in both broad and very personal terms.
This handsomely designed book features approximately 100 of his key canvases, from photo paintings created in the early 1960s to portraits and later large-scale abstract series, as well as select works in glass.
New essays by eminent scholars address a variety of themes: Sheena Wagstaff evaluates the conceptual import of the artist’s technique; Benjamin H. D. Buchloh discusses the poignant Birkenau paintings (2014); Peter Geimer explores the artist’s enduring interest in photographic imagery; Briony Fer looks at Richter’s family pictures against traditional painting genres and conventions; Brinda Kumar investigates the artist’s engagement with landscape as a site of memory; André Rottmann considers the impact of randomization and chance on Richter’s abstract works; and Hal Foster examines the glass and mirror works. As this book demonstrates, Richter’s rich and varied oeuvre is a testament to the continued relevance of painting in contemporary art.
Metropolitan Museum of Art website
Gerhard Richter was born in Dresden on 9th February 1932, the first child of Horst and Hildegard Richter. A daughter, Gisela, followed four years later. They were in many respects an average middle-class family: Horst worked as a teacher at a secondary school in Dresden and Hildegard was a bookseller who liked to play the piano.1 In an interview with Robert Storr, Richter described his early family life as “simple, orderly, structured – mother playing the piano and father earning money.”2
David Rabe joins Deborah Treisman to read and discuss “
The study is divided into two parts: the first examines Dalí’s beginnings as an unknown artist. We witness how the young Dalí deployed all the isms―Impressionism, Pointillism, Cubism, Fauvism, Purism and Futurism―with playful mastery, and how he would borrow from prevailing trends before ridiculing and abandoning them. The second part unveils the conclusions of Dalí’s lifelong inquiries, as well as the great legacy he left in works such as Tuna Fishing (1966/67) or Hallucinogenic Toreador (1970). It includes previously unpublished homages to Velázquez or Michelangelo, painted to the same end as the variations on past masters done by his contemporary, Picasso.
“She was unique. Nobody ever bonded more completely with her readers than Mary did; she understood them as if they were members of her own family. She was always absolutely sure of what they wanted to read—and, perhaps more important, what they didn’t want to read—and yet she managed to surprise them with every book. She was the Queen of Suspense, it wasn’t just a phrase; she always set out to end each chapter on a note of suspense, so you just had to keep reading. It was at once a gift, but also the result of hard work, because nobody worked harder than Mary did on her books to deliver for her readers. She was also, unfailingly, cheerful under pressure, generous, good humored and warm-hearted, the least ‘temperamental’ of bestselling authors, and the most fun to be around.
well-known capital city, his most recent book, 
Mark has developed an international reputation and has won numerous awards, both in his native Canada and in the United States. A dedicated painter, Mark Lague was born in Lachine Quebec in 1964 and he has had a fascination with drawing since childhood, a skill he practices constantly, even to this day.
Boomers Daily 