Der am 9. Februar 1932 in Dresden geborene Gerhard Richter gilt als einer der einflussreichsten Künstler der Gegenwart. Sein Werkverzeichnis umfasst insgesamt 957 Gemälde, Bilder und Skulpturen, gemalt hat er allerdings viel mehr. Erneut stellt ihn jetzt die Fondation Louis Vuitton in Paris in den Mittelpunkt einer Ausstellung. Diesmal so umfassend wie nie zuvor.
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Die große Retrospektive mit Werken von Gerhard Richter ist seit dem 17. Oktober 2025 in der Fondation Louis Vuitton zu sehen, sie dauert noch bis zum 2. März 2026.
Bereits 2014 war der deutsche Künstler in der Eröffnungsausstellung der Fondation vertreten. Nun wird er mit einer außergewöhnlichen Retrospektive geehrt. Einzigartig in ihrem Umfang mit 270 Arbeiten und zeitlicher Spannweite von 1962 bis 2024.
Die Ausstellung vereint Ölgemälde, Glas- und Stahlskulpturen, Bleistift- und Tuschzeichnungen, Aquarelle sowie übermalte Fotografien. Zu letzterem gehört auch die Nummer eins („Tisch“ von 1962) seines Werkverzeichnisses. Die fotografische Vorlage für das Bild fand Richter laut eigener Aussage in einer italienischen Designer-Zeitschrift.
Hier wird der kritische und schonungslose Umgang mit den
eigenen Bildern deutlich: Gefallen sie dem Künstler nicht mehr, werden
sie übermalt. Auch dieses Werk wird in der Ausstellung gezeigt.
So wie alle hier abgebildete Werke.
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| Tisch, 1962 (CR 1) |
Erstmals ist mit dieser Retrospektive ein umfassender Einblick in mehr als sechs Jahrzehnte des künstlerischen Schaffens von Gerhard Richter möglich. Einer der
bedeutendsten und international renommiertesten Künstler seiner
Generation.
Er wurde in den 1960er Jahren bekannt für seine fotorealistischen Gemälde. Anregungen dafür holte er sich in Anzeigen und Zeitschriften. Er riss sie heraus, malte sie ab und verfremdete sie auf seine ganz eigene Art und Weise.
Mit dieser großen Retrospektive führt die Fondation Louis Vuitton konsequent ihre Tradition herausragender monografischer
Ausstellungen fort, die wegweisenden Künstlerpersönlichkeiten des 20. und 21.
Jahrhunderts gewidmet sind.
In der Vergangenheit waren das bereits Jean-Michel Basquiat, Joan
Mitchell, Mark Rothko oder David Hockney.
Kontakt
www.fondationlouisvuitton.fr/en
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| Selbstportrait von 1996 (CR 836-1) |
Vita Gerhard Richter
Aufgewachsen in Reichenau nahe Dresden und Waltersdorf unweit der tschechischen Grenze im Zittauer Gebirge, belegte er ab 1947 Abendkurse als Vorbereitung für ein Kunststudium an
der Hochschule der Bildenden Künste in Dresden. Dort wird seine
Bewerbung mit dem Hinweis auf fehlende berufliche Erfahrung 1950 abgelehnt. So begann er als Schildermaler bei der
DEWAG in Zittau, ein Jahr später nahm ihn die Kunstakademie
auf.
Das Studium über fünf Jahre war hart, mit Unterrichtsbeginn um acht Uhr früh, strikter Studienplan mit den klassischen Fächern (Akt-Malerei, Stilleben, Ölmalerei, Kunstgeschichte) und DDR-Fächern wie Russisch, Politik und Wirtschaft.
Nach Studienende erwartete ihn eine Karriere im sozialistischen Staat, doch sein Besuch der „Documenta“ 1959 in Kassel öffnete ihm die Augen. Unabhängig von politischen Vorgaben und ideologiebefrachteten Aufträgen künstlerisch zu arbeiten stand für ihn an oberster Priorität. Im März 1961 fährt er mit seiner ersten Frau Ema über West-Berlin aus der DDR in den Westen.
An der Kunsthochschule in Düsseldorf startet er künstlerisch erneut, entwickelte sich in den folgenden Jahrzehnten zu
einem der weltweit berühmtesten Künstler.
Seit
vielen Jahren lebt und arbeitet er in Köln.
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| Apfelbaum, 1987 (CR 650-1) |
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| Carotte, 1984 (CR 558-2) |
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| Gudrun, 1987 (CR 633) |
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In den 80er-Jahren malte Gerhard Richter immer wieder Kerzen. Er platzierte sie im Bild so, dass man (bis auf wenige Ausnahmen) nie sieht, worauf sie stehen oder ob sie gehalten werden. Das hier gezeigte Ölbild entstand 1982.
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Das Gemälde „Lesende“ (1994) ist eines der fotorealistischsten Werke von Gerhard Richter. Es zeigt seine dritte Frau Sabine Moritz. Sie steht vor dem Fenster und liest das Magazin „Der Spiegel“.
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| Onkel Rudi, 1965 (CR 85) |
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Hier ein kurzer Teaser zur Ausstellung:
Dedicated to our english readers
From October 17, 2025 to March 2, 2026, the Fondation Louis Vuitton in Paris will present a major retrospective of works by Gerhard Richter, one of the most influential contemporary artists.
Continuing its tradition of landmark monographic exhibitions devoted to leading figures of 20th and 21st-century art (including Jean-Michel Basquiat, Joan Mitchell, Mark Rothko, and David Hockney) the Fondation Louis Vuitton will dedicate all its galleries to Gerhard Richter, widely regarded as one of the most important and internationally celebrated artists of his generation.
Gerhard Richter was featured in the inaugural presentation of the Fondation Louis Vuitton in 2014, with a group of works from the Collection.
Now, the Fondation Louis Vuitton is honoring the artist with an exceptional retrospective (unmatched both in scale and in chronological scope) featuring 270 works stretching from 1962 to 2024.
The exhibition includes oil paintings, glass and steel sculptures, pencil and ink drawings, watercolors, and overpainted photographs. For the first time, an exhibition will offer a comprehensive view of over six decades of Gerhard Richter’s creation.
This retrospective brings together many of Richter's 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 — one
shaped by both rupture and continuity — from his early photo-based
paintings to his final abstractions.
Curators: Dieter Schwarz and Nicholas Serota.
The Exhibition
Gallery 1: 1962 - 1970 = Painting after photographs.
From
the outset, Richter's 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 'number 1', in 1962, an image of a
table taken from an Italian design magazine and partially obliterated, (Tisch); on the other, family portraits referring to his own past (Onkel Rudi, Tante Marianne), as well as to the shadows of German history (Bombers). Already in the mid-1960s, Richter was challenging the illusionist conventions of painting with his sculpture Four Panes of Glass and his first Color Charts. With the Cityscapes, he explored a pseudo-expressionist impasto style; with the Landscapes and Seascapes, he tested classic genres against the grain.
Gallery 2: 1971 - 1975 = Questioning representation
The 48 Portraits, 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); the progressive copying and dissolution of a Titian Annunciation; the random distribution of color in the large Color Charts; and the rejection of representation and expression in the Grey Paintings.
Gallery 4: 1976 - 1986 = Exploring abstraction
During 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). At the same time, he painted the first
portraits of his daughter Betty and continued exploring traditional
subjects such as landscape and still life.
Gallery 5: 1987 - 1995 = Somber reflection
Motivated by a profoundly skeptical view of artistic and social change, Richter painted the October 18, 1977
series — exceptionally on loan from MoMA — 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 Sabine mit Kind series.
Gallery 6: 1983 - 2008 = On paper
For Richter, drawing is a working method that cannot be integrated
into a controlled process; improvised drawing is the antithesis to
painting. However, in the 1980s, he worked on groups of drawings,
concluded by a series of 45 sheets in 1999. Richter did not exhibit
them, and it was not until the drawing retrospective of 1999 at
Kunstmuseum Winterthur that they were seen.
The drawings show linear forms developed from spontaneous doodles, worked into structured, blurred surfaces, imaginary landscapes. In spite of its suggestive power, drawing for him takes place in small format, which accommodates direct notation.
Gallery 7: 1992-1999 - Moments of reflection.
In 1996, Richter's daughter Ella Maria was born and his life was
given new impetus by his young family. They moved into a new home and
studio in Hahnwald, on the outskirts of Cologne. He maintained his
studio in Cologne's city center in order to work on different groups of
works at the same time. Richter was no longer painting individual
abstract pictures, but cycles characterized by structure and tonality.
Along with these powerful works, Richter produced intimate pictures painted from photographs, among them his first self-portrait. From inconspicuous motifs found in everyday life, Richter creates metaphors for his melancholic view of reality.
Gallery 9: 2001 - 2013 = New perspectives in painting
The commission to design the window in the south transept of Cologne
Cathedral, which Richter received in 2002, inspired him to pursue new
ventures. After painting the Silikat and Cage cycles, he turned to
working with glass. He has works executed that he conceived but in which
he has not been directly involved as a painter. For the design of the
cathedral window, which was inaugurated in 2007,
Richter used a process of chance to determine the distribution of the colors. The variations of 4,900 randomly arranged colors led him to work with lacquer paints on glass, the flow of which is largely determined by chance.
Gallery 10: 2014 - 2017 = Pictorial elegies
After a break of several years, Richter resumed painting in 2014.
The
first subject to which he turned was again the German past: Over many
years, he had attempted to create a picture dealing with the Holocaust,
but had never found an appropriate means of expressing the overwhelming
emotion of the subject.
The starting point for the Birkenau paintings is
the only surviving photographs of the Auschwitz-Birkenau Concentration
and Extermination Camp taken by prisoners: finally, but the cycle
evolved into four abstract paintings.
They were first exhibited in
Germany, and later in England, and at the artist's retrospective at the
Metropolitan Museum of Art in New York in 2020.
Photo versions of
Birkenau are permanently installed in the Reichstag in Berlin and in the
Auschwitz-Birkenau Memorial.
In 2016, the Gerhard Richter Art
Foundation was established with the intention of creating a permanent
exhibition of a core group of works in Berlin and Dresden.
In the years
2015-2017, Richter produced a group of abstract paintings that captivate
with their expressive power.
After another pause, he declared his
painterly oeuvre complete.
Gallery 11: 2017 - 2025 = Continuing to work
Since Richter declared his painterly oeuvre complete; he now
concentrates on drawings and works intended for public space. In 2016, a
pavilion with an installation 14 Panes Glass opened on the Japanese
island of Toyoshima. It was followed in 2018 by a work with gray mirrors
and a pendulum in the Dominican Church in Münster, and in 2025, by two
large reliefs in a building designed by Norman Foster in New York.
Instead
of working on the wall, Richter now works at his desk. Each drawing is
dated, which allows the process of creation to be followed. They do not
develop continuously, but in groups within a few days or weeks.
In these
new sheets, Richter explores the mechanics and the possibilities of
drawing as a medium. He uses lines, frottage or tone, and he is
experimenting with unusual techniques.
The unconscious movement of the
hand takes a more important place than ever before. Colored inks are
added at times, which Richter playfully drips onto the paper to find
himself challenged by the random configurations and to redraw them,
using ruler, compasses or other instruments.
Gerhard Richter continues to live and work in Cologne.
Vita Gerhard Richter
He was born in Dresden in 1932.
From 1951 to 1956, he studied mural painting in the then East Germany (GDR) at the Dresden Academy of Fine Arts.
Richter
fled the GDR just before the Berlin Wall was built in 1961.
He left for Düsseldorf, where from 1961 to 1964 he studied painting under K.O. Götz at the State Academy of Fine Arts.
Some 10 years later, he became a professor of painting there, a position he held until 1994.
Starting in 1962, while still a student, he developed his own artistic practice, initially based on photographic models and later exploring a wide variety of abstract language.
Alongside his canvases and objects, Richter’s complex body of work also includes drawings, watercolors, overpainted photos, editions and multiples.
Gerhard Richter is unanimously regarded as one of the most important and influential living artists. His works are held in major museum collections and have been exhibited worldwide.
Since 1967, his work has been exhibited in France by institutions and galleries, including retrospectives at the Musée d’Art Moderne de la Ville de Paris in 1993 and more recently at the Centre Pompidou in 2012
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