Gerhard Richter

Eckspiegel, braun-blau [Corner Mirror Paintings (Brown-Blue, 737-1 and 2)] (1991)

About this artwork

Richter began to use glass as a medium in 1967, when he made ‘4 Panes of Glass’, which were framed and attached to a stand that allowed them to swivel, and be looked through at various angles. Since then, he has made several mirrors, some plain and some coloured. All Richter’s works are to do with looking at reality - whether reproduced in paint, whether in the form of paint itself (abstract) or whether reflected or looked at through a frame - but his glass works have a cool, conceptual quality, that sets them apart. Richter’s ‘Corner Mirrors’ have pigment attached to their backs, so that the reality reflected in them is coloured and, because mirrors reflect each other, their colour is optically mixed.

  • title: Eckspiegel, braun-blau [Corner Mirror Paintings (Brown-Blue, 737-1 and 2)]
  • accession number: AR00023
  • artist: Gerhard RichterGerman (born 1932)
  • gallery: In Storage
  • object type: Painting
  • date created: 1991
  • measurements: 225.00 x 100.00 cm
  • credit line: ARTIST ROOMS National Galleries of Scotland and Tate. Acquired jointly through The d'Offay Donation with assistance from the National Heritage Memorial Fund and the Art Fund 2008
  • copyright: © Gerhard Richter
This artwork is part of Artist Rooms

Gerhard Richter

Gerhard Richter

Richter was born in Dresden, where he studied from 1952 to 1957. In 1961 he settled in Düsseldorf, where he studied under Joseph Beuys. In 1963 he began using images from press photographs and amateur snapshots in his paintings, deliberately blurring them in order to undermine and challenge the boundaries of painting and photography. In the early 1970s Richter explored theoretical ideas about colour in a series of colour charts. In a similar systematic way he made a large number of grey paintings in which he experimented with texture and brushstrokes. Since the late 1970s Richter has painted an ongoing series of colourful abstractions and alternated these with painstakingly accurate renderings in paint of photographs of landscapes, people and still lifes.