Publisher: Museum Boymans-Van Beuningen
Language: Dutch English
Product Dimensions: 29.8 x 21.6 x 3.6 cm
Release Date: 1989
Condition: good (pre-owned)
Acknowledgment: Wim Crouwel
For some years now there have been pleasant contacts between
Gerhard Richter and the Boymans-van Beuningen Museum. We have visited
him at regular intervals, not only to discuss the prospect of an exhibition, but especially to look at his new paintings. We wanted to be kept informed of the latest developments with a view to buying a painting to complement ‘Stuhl’,
which the museum purchased in 1974, and to add to the collection of German painting. This show is a token of our respect for Gerhard Richter’s work and artistic career. The exhibits add an impressive chapter to what was already a substantial oeuvre.
Gerhard Richter has exhibited extensively in Europe and the United States since 1980. His paintings were seen for the first time in the Netherlands in 1965 in ‘Lueg,folke, Richter’s at the Galerie Orez in The Hague. One-man shows were later held at Hedendaagse Kunst in Utrecht (1972, ‘Atlas’), Galerie Seriaal in Amsterdam 1973, ‘Vermalung’), the Van Abbemuseum in Eindhoven (1978, ‘Abstract Paintings’ / 1980, ‘Zwei gelbe Striche’) and in Museum Overholland in Amsterdam (1987, ‘Works on Paper’). He also took part in group exhibitions in Rotterdam, Groningen, Otterlo, Amsterdam and
He was furthermore represented at such prestige exhibitions as
‘A New Spirit in Painting’ in London, ‘Westkunst’ in Cologne, ‘Documenta’ in Kassel, ‘von hier aus’ in Dusseldorf and in the recent ‘Bilderstreit’ in Cologne; exhibitions which drew a large Dutch public and to which Dutch newspapers and magazines devoted ample space. This also goes for his retrospective at the Stadtische Kunsthalle, Dijsseldarf, in l986.
This, then, did not appear to be the appropriate moment for a
conventional retrospective, nor for a non-committal presentation of just his latest works. We therefore asked Gerhard Richter to make work especially for
the Boymans~van Beuningen exhibition, adapted to the museum’s galleries.
An exhibition with the character of a project, then, breaching a specific theme.
To our great delight, Gerhard Richter promptly accepted our invitation. He has spent a lot of time and energy informing a ‘concept’ for a meaningful context in which to place his paintings. A process of constant deliberation and
contemplation; a process that cannot be forced or guided into a straight and
narrow path, but which must evolve gradually. As Richter puts it: ‘letting something grow, instead of creating it.’
The result is a series of works, abstracts and photo-paintings,
without the exuberant colors, but restrained and sober, built up mainly in blacks and whites.
The exhibition presents some 45 paintings from T988-T989, as well as 6 ‘grey’ paintings from T966-1976. These early paintings are intended as examples which echo the ‘theme’ of the show: reduced to grey. They act as references, no matter how startling the new forms of expression may be.
The exhibition is an impressive introduction to ‘new’ paintings,
placed in an exciting relationship with a few older works.
We are very grateful to Gerhard Richter for the tremendous effort he has invested in both the exhibition and the catalogue and which stimulated a highly inspiring collaboration. Our thanks, too, to Karel Schampers, who provided a major contribution to the realization of the exhibition. I am grateful to those who have loaned work for the duration of the show.
The penetrating introductions to the catalogue are written by Anna Tilroe and Benjamin Buchloh, to whom we extend our sincere thanks.
We are extremely happy to be able to show these paintings in
Wim Crouwel, Director