傑賀．李西特的風景畫及其「非典型」徵候

Abstract

Undoubtedly, German artist Gerhard Richter's significance and influence in the development of modern and contemporary art is well known. Since the 1960s, his rich and varied art works, application of various media, and execution of provocative experiments won him unique status in the Avant-guard movement within the art world. During the half century in which he devoted himself to art making, Richter remained passionate about painting while experimenting with a wide range of art techniques and genre. This zeal has been perhaps the most interesting aspect of his career. Richter's diverse techniques, shifting subject matters, and prolific production have resulted in unending arguments amongst art critics over the interpretation of his work in different contexts. Considering these differing viewpoints, this essay provides a survey of Richter's works, particularly his landscape paintings. I will point out how his paintings shifted into "atypical" practice by revealing the ever-changing process and transitory nature of landscape paintings from the past to the present. Additionally, I will analyze Richter's "photo-painting" and argue that this "in-between" application of photographic images and paintings creates a dual negation or what I term "atypical" pattern.