Gerhard Richter

Abstraktes Bild (Haut) [Abstract Painting (Skin)] (2004)

About this artwork

After 2000, Richter made a number of works that dealt with scientific phenomena, in particular, with aspects of reality that can’t be seen by the naked eye. This work, which translates as ‘Abstract Painting (Skin)’, deals with the visual patterns that sound vibrations create when brought into proximity to the surface of milk (skin). The actual image derives from experiments carried out in 2000 by the German artist, Carsten Nicolai (born 1965). The repeated pattern of forms, albeit indistinct and out of focus in some areas, is also found in Richter’s later paintings and prints about earth elements, such as silicate and strontium.

  • title: Abstraktes Bild (Haut) [Abstract Painting (Skin)]
  • accession number: AR00028
  • artist: Gerhard RichterGerman (born 1932)
  • gallery: In Storage
  • object type: Painting
  • materials: Oil paint on canvas
  • date created: 2004
  • measurements: 230.00 x 204.90 x 6.80 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
  • photographer: Antonia Reeve
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.

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