Like Picasso, Matisse, Pollock and a host of iconic 20th century painters, Gerhard Richter has developed a signature visual vocabulary of sometimes photorealistic images obscured to varying degrees in scrapes, blurs, flecks, and pulls of wet and dry paint. Evoking at once powerful movement and misty tranquility, his works require a commitment of effort and time to absorb. His September (2009) utilizes this technique to stunning effect. Two silvery twin towers, the tops of which disappear into monumental clouds of opaque browns and blacks, stand defiantly against horizontal winds of scrapes and streaks and blurs. The painting captures a moment of enormity with grace and respect and breathtaking radiance.
Subscribe to:
Post Comments (Atom)
Theater: Next to Normal
Next to Normal —a searing, brilliant, Pulitzer-winning rock opera examining the lives of a family whose mother is desperately struggling wit...
-
Chicago emerged from its devastating Great Fire on October 10, 1871, after a two-day conflagration that destroyed 17,500 buildings over four...
-
Three years ago today, a massive derecho—a Category 4 inland hurricane defined by its straight-line winds, which exceeded 140 miles an hour ...
-
After a year of unemployment in Chicago where I half-assedly looked for jobs and shuffled back and forth from Cedar Rapids, I more or less o...
No comments:
Post a Comment