Gerhard Richter took a pronouncedly useless medium and brought it back to lifestyle. To become honest, portray were claimed being on its previous legs time and time yet again, only to get revived by Matisse and Picasso and Delaunay and also the like.
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This contradictory nature reveals alone in “Gerhard Richter Painting,” a extraordinary 2011 documentary by filmmaker Corinna Belz about the artist’s craft. Richter seems so self-confident in his abilities, approaching the canvas with his signature squeegee and adding and detracting right until the portray has just the ideal equilibrium and is particularly aesthetically fantastic to him.
Comparable to Susan Sontag’s line of imagining, Richter approaches photography not as being a direct reflection of the earth but as one interpreted with the medium along with the artist’s precise usage of it:
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