CRITIQUE – Singular exhibition of painted photographs by the German artist who uses chance as master of composition.
The great German painter Gerhard Richter exhibited in monumental format at the Fondation Louis Vuitton this fall, fascinating the public with the scale and pictorial power of his “abstraktes bilder” (“abstract paintings”). As if a giant fallen from the heavens had wielded an unknown brush, large and rough, letting the bark of the paint reveal the movement, the composition and the life of the painting.
This time, at the Luma Arles Foundation, it is the miniature version of his works, the “overpainted photographs” which are astounding by their inventiveness, their multitude and their sensitivity. These painted photographs, since the end of the 1980s, have come, for the most part, from the artist’s collection. Like a secret notebook of notes, research, finds in the Jansenist hanging in the main gallery of the tower, a priori severe, their uninterrupted succession reveals the strength of this painter who constantly reinvents himself.
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