The evident reliance on a ready-made source gave Richter's paintings an apparent objectivity that he felt was lacking in abstract art of the period. The indistinctness of the images that emerged in the course of their transformation into thick layers of oil paint helped free them of traditional associations and meaning. Richter concentrated exclusively on the process of applying paint to the surface..
As early as 1966 he had made paintings based on colour charts. Although these paintings, like those based on photographs, were still dependent on an existing artefact, all that was left in them was the naked physical presence of colour as the essential material of all painting.
All vestiges of subject-matter seem to have been abandoned by Richter in the paintings that he began to produce in 1976. Even these supposedly wholly invented paintings retained a second-hand look, as if the brushstrokes had been copied from photographic enlargements.
The extreme variety of Richter's work left him open to criticism, but his rejection of an artificially maintained consistency of style was a conscious conceptual act that allowed him to investigate freely the basic principles of painting.
K. Honnef: ‘Problem Realismus: Die Medien des Gerhard Richters', Kstforum Int., 4–5 (1973), pp. 68–91
——: Gerhard Richter (Recklinghausen, 1976)
Gerhard Richter (exh. cat., intro. B. H. D. Buchloh; Paris, Pompidou, 1977)
U. Loock and D. Zacharopoulos: Gerhard Richter (Munich, 1985)
Gerhard Richter: Aquarelle (exh. cat., intro. U. Loock; Stuttgart, Staatsgal., 1985)
Gerhard Richter: Bilder/Paintings, 1962–1985 (exh. cat., ed. J. Harten; Düsseldorf, Städt. Ksthalle, 1986)
R. Nasgaard: Gerhard Richter: Paintings (London, 1988) [with essay by I. M. Danoff and interview by B. H. D. Buchloh]
Gerhard Richter: The London Paintings (exh. cat., intro. J. Lloyd; London, Anthony d'Offay Gal., 1988)
Gerhard Richter: 18. Oktober 1977 (exh. cat., essays B. H. D. Buchloh, S. Germer and G. Storck, interview by J. Thorn-Prikker; London, ICA, 1989)
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