Protean-rich Richter

Richter seascape

Image: Gerhard Richter, “Seascape”

“The cataloguing of the art of Gerhard Richter (born 1932) has reached the years 1968-76. By this time an established international artist and leading teacher, he began to move away from the collective group activities of his early years. The period was also when Richter started painting series in different styles in fairly quick cycles. Blurred black and white photo paintings were superseded by colour variants, often with landscapes as subjects. At the same time, he was formulating abstract paintings of colour charts, painterly multicolour works and monochrome pieces. Fortunately for the reader, the paintings are listed in their different series as groups, so the sequence of images is not bewilderingly various.

“Gerhard Richter: Catalogue Raisonné Volume 2shows Richter at his most Romantic and most austerely modern. Colour paintings of clouds, seascapes and landscapes are mostly derived from his own photographs. They are contemporary Romantic landscapes: plangent, attractive, absent of figures. Sometimes single compositions are combinations of different photographs. The landscapes are flat and resist any Romantic immersion of the viewer in an environment. They are not picture-postcard pretty, but landscapes as seen from car or train window or viewed from a hotel balcony. The paintings have the disappointment of holiday photographs that fail to capture majestic panoramas and instead produce something lacking energy, depth and intensity. In that sense, these are landscapes of the snapshot generation. This is not a failure on Richter’s part but a deliberate choice and an intelligent one.

“Richter engaged with the Old Masters by painting versions of Titian’s Annunciation, obscuring the Virgin and angel under a queasy flurry of brushmarks. In later years, he approached Old Masters indirectly by lifting poses and echoing compositions…”

Read the full review online at The Art Newspaper, 30 August 2017 here:

http://theartnewspaper.com/review/protean-rich-on-the-gerhard-richter-catalogue-raisonne

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Review: Francis Bacon catalogue raisonne

francis-bacon-figure-with-meat

“It was an absurdity that until June of this year Francis Bacon (1909-92), the foremost British painter of the 20th century and one of the giants of Modernist art, did not have a catalogue raisonné. Researchers had to scour miscellaneous catalogues (including the incomplete 1964 catalogue raisonné compiled by Ronald Alley) in search of images and data. Now, Francis Bacon: Catalogue Raisonné, a grand five-volume affair (boxed and bound in dark-grey cloth) documents 584 paintings by Bacon…”

Full review in The Art Newspaper, 21 July 2016

[link removed due to page on site unavailable]

Review: Aubrey Beardsley catalogue raisonne

 

beardsley salome

“During his short career, the English illustrator Aubrey Beardsley (1872-98) gained a formidable reputation as an unwholesome genius – a brilliantly original draughtsman intent on corrupting and scandalising. He should be a peripheral figure working in a minor medium (illustration) on the fringes of art movements that were stronger in applied art than in fine art, yet Beardsley’s art is not only unforgettable, it is the defining graphic manifestation of Aestheticism, Decadent art and Art Nouveau, and constitutes some of the world’s most remarkable illustrations.

“While a schoolboy in Brighton, Beardsley had a passion for theatre and designed puppet theatres, which foreshadows his later choices of subjects…”

 

Published in The Art Newspaper. Link removed due to page being inaccessible.

Francis Picabia: Catalogue Raisonne, vol. 1

“It is a truism that Western culture has a tendency to absorb dissenters and co-opt rebels by transforming their opposition into a marketable commodity. This truism is never more evident than in the exhaustive and expensive cataloguing process for art that was considered to be marginal, worthless provocation when it was made. Few artists were as disruptive and irreverent as Francis Picabia (1879-1953). As an original member of the Dada movement and then a Surrealist, he mocked social mores. Later, in straitened circumstances, he produced a series of kitsch pin-up paintings that seemed to blot his copybook as an avant-gardist, but which have in recent years been taken up by proponents of Post-Modernism and Bad Art….”

Read the full review at THE ART NEWSPAPER, 6 July 2015:

http://www.theartnewspaper.com/comment/reviews/books/157321/

More archived reviews to follow.