© Gerhard Richter - Fondation Louis Vuitton / Martin Argyroglo

During the 1980s, the notion of pleasure was increasingly present in Richter’s paintings.

Using various tools (brushes and spatulas in different sizes), the artist worked with a wide range of textural effects. The first impression is one of profusion, but we soon discern a rigorous structure in each of his paintings. In Möhre (Carrot) (1984) we can see a central axis formed by a bright yellow line, which is highlighted by the grey. On either side are three areas of colour (grey, red, yellow), each rendered in different textures. As if thumbing his nose at the distinction between figurative and abstract art, Richter named this painting Carrot in reference to the central orange line topped with a green frond.

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In the Same Hang

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