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After Gerhard Richter-Lovers in the Forest Original Poster1995
1995
$88
$12529% Off
£65.46
£92.9929% Off
€76.75
€109.0229% Off
CA$123.08
CA$174.8329% Off
A$137.42
A$195.2029% Off
CHF 72.10
CHF 102.4229% Off
MX$1,696.02
MX$2,409.1329% Off
NOK 906.35
NOK 1,287.4329% Off
SEK 848.05
SEK 1,204.6229% Off
DKK 572.59
DKK 813.3329% Off
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About the Item
Sku: YY1193
Artist: Gerhard Richter
Title: Lovers in the Forest
Year: 1995
Signed: No
Medium: Offset Lithograph
Paper Size: 26.75 x 28.25 inches ( 67.945 x 71.755 cm )
Image Size: 22.5 x 26.75 inches ( 57.15 x 67.945 cm )
Edition Size: Unknown
Framed: No
Condition: A: Mint
Additional Details: This reproduction of Gerhard Richter's 1966 "Lovers in the Forest" was published for the Israel Museum's Fall 1995 exhibition of the stylistically versatile German artist's work.
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- Creation Year:1995
- Dimensions:Height: 26.75 in (67.95 cm)Width: 28.25 in (71.76 cm)
- More Editions & Sizes:27 x 28Price: $125
- Medium:
- Movement & Style:
- After:Gerhard Richter (1932, German)
- Period:
- Framing:Framing Options Available
- Condition:All items are carefully stored. Condition is a main concern, unless otherwise indicated, all items are in mint condition. Additional pictures are available upon request. Feel free to contact our team if you have any questions or concerns. Thank you.
- Gallery Location:Brooklyn, NY
- Reference Number:Seller: YY11931stDibs: LU1294114048432
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Paper Size: 26.75 x 28.25 inches ( 67.945 x 71.755 cm )
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Framed: No
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Gerhard Richter was born in 1932 in Dresden, Germany. Throughout his career, Richter has negotiated the frontier between photography and painting, captivated by the way in which these two seemingly opposing practices speak to and challenge one another. From exuberant canvases rendered with a squeegee and acerbic color charts to paintings of photographic detail and close-ups of a single brushstroke, Richter moves effortlessly between the two mediums, reveling in the complexity of their relationship, while never asserting one above the other.
Richter’s life traces the defining moments of twentieth-century history and his work reverberates with the trauma of National Socialism and the Holocaust. In the wake of the Second World War, Richter trained in a Socialist Realist style sanctioned by East Germany’s Communist government. When he defected to West Germany in 1961, a month before the Berlin Wall was erected, Richter left his entire artistic oeuvre up to that point behind. From 1961 to 1964—alongside Blinky Palermo and Sigmar Polke—Richter studied at the Staatliche Kunstakademie Düsseldorf, where he began to explore the material, conceptual, and historical implications of painting without ideological restraint.
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