From October 9, 2015 the Schirn Kunsthalle Frankfurt is
exhibiting a new series by the German painter Daniel Richter in a
focused solo presentation. Around 25 paintings, which will be
presented to the public for the first time in the Schirn, mark a caesura
in the artist’s oeuvre. Daniel Richter (* 1962) is one of the
influential artists of his generation; since the late 1990s his
works have been celebrated in numerous exhibitions.
In his new works Richter breaks with all that seemed familiar in his painting hitherto. In the past two years he has focused on a question which represents a challenge for him: “How can a picture be reduced formally while being charged at the same time as regards content?” In his search for answers and solutions Richter has developed a new pictorial language which defies the customary motifs and painting methods as well as the familiar colours and themes.
His works are characterised by a remarkable stylistic complexity and versatility: From about the year 2000 he confronted the abstract-ornamental paintings created from the mid-1990s with large-format, more strongly figurative and narrative pictures of a socio-political reality. Through the intersection of art-historical, mass-media and pop-culture clichés he has created idiosyncratic worlds. In 2015 he reduced the pictorial means, simplified the painting method; the tried and tested pictorial themes have disappeared and the picture has been brought back to its abstract primal state. The paintings in the new series seek an unusual confrontation. On a formal and content-based level the artist brings about a clash between simplified masses of colours and significance.
In his new works Richter breaks with all that seemed familiar in his painting hitherto. In the past two years he has focused on a question which represents a challenge for him: “How can a picture be reduced formally while being charged at the same time as regards content?” In his search for answers and solutions Richter has developed a new pictorial language which defies the customary motifs and painting methods as well as the familiar colours and themes.
His works are characterised by a remarkable stylistic complexity and versatility: From about the year 2000 he confronted the abstract-ornamental paintings created from the mid-1990s with large-format, more strongly figurative and narrative pictures of a socio-political reality. Through the intersection of art-historical, mass-media and pop-culture clichés he has created idiosyncratic worlds. In 2015 he reduced the pictorial means, simplified the painting method; the tried and tested pictorial themes have disappeared and the picture has been brought back to its abstract primal state. The paintings in the new series seek an unusual confrontation. On a formal and content-based level the artist brings about a clash between simplified masses of colours and significance.
Richter’s painting against his own routine has resulted in fascinating works which not only reveal a transformation, but also a remarkable new development stage in the artist’s oeuvre.
The new series included two groups of works. In one of
them Richter focuses on the observation of the body and
corporeality. In his previous works the human body was strongly
contoured and always embedded in a superordinate narrative. Richter
has retained the stereotyped and fleshless character of the figures,
but now goes further. His interest lies above all in the surface. He
allows the forms to blur and thereby lets the figures dissolve. In this
way a fragmented, shattered physicality prevails. The figures are
flat and intertwined; the forms crash mercilessly into each other and
hint at the uncontrolled human sexuality, which becomes visually
reinforced in pornography. Richter developed his latest works by
starting out with the line and paint.
In his new works the line is not only a purely formal means of reduction, but also the starting point for pictorial design. At the same time it symbolises Richter’s ideas of pictorial systems and schemes which help humans to comprehend and to represent pictorially the phenomena of reality. The latter becomes especially clear in the other group of works. Based on diagrams with which data, content or information are visualised, Richter paints amoeba-like areas on a subsequently designed monochrome background. The works recall maps or representations of territorial boundaries.
All the paintings in the new series impress with their materiality. Richter dispenses almost entirely with painting with a paintbrush. Unlike his older works he shades all the colours he uses with white. With the exception of the background of the picture he uses only oil pastels for these new works. This leads to a fundamentally transformed appearance. Richter also avoids a clear symbolism and leaves no room for anecdotal interpretations. And yet his pictures reflect his powerful attitude to art and the world.
Schirn_Presse_DanielRichter_GONZO.jpg
Daniel Richter, Gonzo, 2015, Oil on canvas, 200 x 270 cm, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
Schirn_Presse_DanielRichter_Hello_i_love_you.jpg
Daniel Richter, Hello, I love you, 2015, 200 x 300 cm, Oil on canvas, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe Courtesy the artist
Schirn_Presse_DanielRichter_LobderKleinstaaterei.jpg
Daniel Richter, Lob der Kleinstaaterei, 2015, Oil on canvas, 200 x 300 cm, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
Schirn_Presse_DanielRichter_Werden_die_Roten_die_Schwar zen_schlagen.jpg
Daniel Richter, Werden die Roten die Schwarzen schlagen?, 2015, 200 x 300 cm, Oil on canvas, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
Daniel Richter, The Katzengang, 2015, 210 x 160 cm, Oil on canvas, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
In his new works the line is not only a purely formal means of reduction, but also the starting point for pictorial design. At the same time it symbolises Richter’s ideas of pictorial systems and schemes which help humans to comprehend and to represent pictorially the phenomena of reality. The latter becomes especially clear in the other group of works. Based on diagrams with which data, content or information are visualised, Richter paints amoeba-like areas on a subsequently designed monochrome background. The works recall maps or representations of territorial boundaries.
All the paintings in the new series impress with their materiality. Richter dispenses almost entirely with painting with a paintbrush. Unlike his older works he shades all the colours he uses with white. With the exception of the background of the picture he uses only oil pastels for these new works. This leads to a fundamentally transformed appearance. Richter also avoids a clear symbolism and leaves no room for anecdotal interpretations. And yet his pictures reflect his powerful attitude to art and the world.
Images:
Schirn_Presse_DanielRichter_FrancisderFroehliche.jpg
Daniel Richter, Francis, der Fröhliche, 2015, Oil on canvas 200 x 170 cm, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
Schirn_Presse_DanielRichter_FrancisderFroehliche.jpg
Daniel Richter, Francis, der Fröhliche, 2015, Oil on canvas 200 x 170 cm, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
Schirn_Presse_DanielRichter_GONZO.jpg
Daniel Richter, Gonzo, 2015, Oil on canvas, 200 x 270 cm, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
Schirn_Presse_DanielRichter_Hello_i_love_you.jpg
Daniel Richter, Hello, I love you, 2015, 200 x 300 cm, Oil on canvas, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe Courtesy the artist
Schirn_Presse_DanielRichter_LobderKleinstaaterei.jpg
Daniel Richter, Lob der Kleinstaaterei, 2015, Oil on canvas, 200 x 300 cm, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
Schirn_Presse_DanielRichter_Werden_die_Roten_die_Schwar zen_schlagen.jpg
Daniel Richter, Werden die Roten die Schwarzen schlagen?, 2015, 200 x 300 cm, Oil on canvas, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
Daniel Richter, The Katzengang, 2015, 210 x 160 cm, Oil on canvas, © VG Bild-Kunst, Bonn 2015, Photo: Jens Ziehe, Courtesy the artist
