https:\/\/www.youtube.com\/watch?v=mJLLIQtn4ec&list=TLGGyn_snkPbklQwNTExMjAyNQ<\/a><\/p>\nGerhard Richter has always been drawn to both subject matter and the very language of painting \u2014 a field of experimentation whose boundaries he has continually pushed, avoiding any singular categorization. His training at the Dresden Academy of Fine Arts led him to engage with traditional genres such as still life, portraiture, landscape, and history painting. His desire to reinterpret these genres through a contemporary lens lies at the heart of this exhibition. Regardless of subject, Richter never paints directly from nature or from the scene before him: every image is filtered through an intermediary medium \u2014 through a photograph or a drawing \u2014 from which he constructs a new, autonomous work. Over time, he has explored an extraordinary range of genres and techniques within painting, developing various methods of applying paint to canvas \u2014 whether with a brush, a palette knife, or a squeegee.<\/p>\n
The exhibition brings together many of Richter\u2019s most significant works up to his decision in 2017 to stop painting, while continuing to draw. Presented in chronological order, each section spans approximately a decade and traces the evolution of a singular pictorial vision \u2014 one shaped by both rupture and continuity \u2014 from his early photo-based paintings to his final abstractions.<\/p>\n
THE EXHIBITION ITINERARY<\/strong><\/p>\nGallery 1: 1962\u20131970 \u2014 Painting from Photographs: Photography as a Source of Imagery<\/strong><\/p>\nFrom the outset, Richter\u2019s choice of subjects was complex: on the one hand, seemingly mundane images taken from newspapers and magazines, such as the work that Richter regards as his \u2018number 1\u2019, in 1962, an image of a table taken from an Italian design magazine and partially obliterated, (Tisch<\/em>); on the other, family portraits referring to his own past (Onkel Rudi<\/em>,\u00a0Tante Marianne<\/em>), as well as to the shadows of German history (Bombers<\/em>). Already in the mid-1960s, Richter was challenging the illusionist conventions of painting with his sculpture\u00a0Four Panes of Glass<\/em>\u00a0and his first\u00a0Color Charts<\/em>. With the\u00a0Cityscapes<\/em>, he explored a pseudo-expressionist impasto style; with the\u00a0Landscapes<\/em>\u00a0and\u00a0Seascapes<\/em>, he tested classic genres against the grain.<\/p>\nGallery 2: 1971\u20131975 \u2014 Investigating representation.<\/strong><\/p>\nThe\u00a048 Portraits<\/em>, painted for the 1972 Venice Biennale and a true tour de force, mark the beginning of a new chapter in which Richter interrogates the nature of painting in multiple ways: through the use of his signature blur technique (Vermalung<\/em>); the progressive copying and dissolution of a Titian\u00a0Annunciation<\/em>; the random distribution of color in the large\u00a0Color Charts<\/em>; and the rejection of representation and expression in the\u00a0Grey Paintings<\/em>.<\/p>\nGallery 4: 1976\u20131986 \u2014 Exploring abstraction.<\/strong><\/p>\nDuring this decade, Richter laid the foundations of his distinctive approach to abstraction: enlarging watercolor studies, examining the painted surface, and making the brushstroke itself the subject of a painting (Strich<\/em>). At the same time, he painted the first portraits of his daughter Betty and continued exploring traditional subjects such as landscape and still life.<\/p>\nGallery 5: 1987\u20131995 \u2014 \u201cSombre reflections.\u201d<\/strong><\/p>\nMotivated by a profoundly skeptical view of artistic and social change, Richter painted the\u00a0October 18, 1977<\/em>\u00a0series \u2014 exceptionally on loan from MoMA \u2014 his only body of work that explicitly refers to recent German history. During this period, he also produced some of his most striking and somber abstract works. Returning to the theme of his early family paintings, Richter created the\u00a0Sabine mit Kind<\/em>\u00a0series.<\/p>\nGalleries 7 and 9: 1996\u20132009 \u2014 New perspectives in painting: chance.<\/strong><\/p>\nIn the late 1990s, Richter entered a highly productive period, spanning small figurative and abstract works, the austere\u00a0Silikat<\/em>\u00a0series, experiments with chance that culminated in\u00a04900 Colors<\/em>, and the meditative\u00a0Cage Paintings<\/em>, a tribute to composer John Cage.<\/p>\nGalleries 9 and 10: 2009-2017 \u2014 Final paintings.<\/strong><\/p>\nRichter surprised audiences by abandoning painting for several years to experiment with glass works and digitally generated Strip images. He returned to painting with Birkenau, a group of works inspired by four photographs taken inside a Nazi extermination camp. The final room of paintings presents his last masterful abstract canvases completed in 2017, after which Richter\u2019s attention has focused on the drawings shown in Gallery 11.<\/p>\n
Sculpture appears at key points throughout the exhibition, and three rooms dedicated to watercolors, drawings and overpainted photographs provide an interlude and change of pace in the 1970s and 1990s, while illustrating the artist\u2019s ongoing concerns since he stopped painting in 2017.<\/p>\n
Commissariat<\/p>\n
Dieter Schwarz\u00a0et Nicholas Serota<\/p>\n
Cover photo: Gerhard Richter, Gudrun, 1987, detail
\nOil on four canvases, 260 x 200 cm each
\nNeue Nationalgalerie, Stiftung Preu\u00dfischer Kulturbesitz, Berlin, loan from Gerhard Richter Art Foundation
\n\u00a9 Gerhard Richter 2025 (18102025)<\/em><\/p>\nFrom 17.10.2025 to 02.03.2026 <\/strong><\/p>\nhttps:\/\/www.fondationlouisvuitton.fr\/en\/<\/a><\/p>\n <\/p>\n
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