Published by Louisiana Museum of Modern Art. Edited by Michael Juul Holm, Poul Erik Tøjner. Text by Roberto Ohrt.
Regarded as one of the most important painters of a generation that includes Peter Doig and Tal R, German artist Daniel Richter (born 1962) arrived on the art scene in the 1990s as a highly expressive abstract painter. Even after Richter’s turn to figuration since the early 2000s, he has maintained his characteristic use of brash colors and dynamic, theatrical compositions, now applied to a “new kind of history painting,” in the thematic and formal tradition of Max Beckmann and George Grosz. Richter’s history painting, however, does not aim to reproduce specific historical events but rather seeks to capture a particular contemporary spirit, marked by the death of the great political utopias. Daniel Richter: Lonely Old Slogans, published to accompany a mid-career survey exhibition, chronicles Richter’s development as an artist.
Published by Galerie Thaddaeus Ropac. Edited by Arne Ehmann.
Embracing an overtly psychedelic aesthetic, German artist Daniel Richter (born 1962) creates bright, almost fluorescent, paintings that swell with activity and nervous intensity. Spagotzen includes the type of anarchic canvases that have made Richter famous. Rife with violence, these images feature boldly colored figures writhing amidst fiery urban scenes. In other works, couples and trios appear in desolate or otherwise deserted landscapes, blurring the line between an apocalyptic end and an Edenic beginning.
Published by Hatje Cantz. Edited and with interview by Philipp Kaiser.
Daniel Richter's earliest paintings depict a colorful, hallucinatory cosmos somewhere between graffiti and objectless abstraction. A few years ago, already a star on the German scene, he opted to shift his focus and devote himself entirely to figuration and historical painting. By taking up and advocating for once-maligned and neglected genres, Richter politicized his paintings--not on the world stage but on the art-world stage--and connected to the art of the 1980s. Richter's most recent works combine set pieces from art history, mass media and pop culture to create his own worlds and narratives. Daniel Richter, conceived and designed in collaboration with the artist, presents selected works from the past five years, up to his latest.
Published by Hatje Cantz. Edited by Alexander Tolnay. Essay by Britta Schmitz.
Daniel Richter is one of those German artists who, in the second half of the 1990s, set off to conquer the international art world. He succeeded in doing so, even though--or perhaps because--this was a time dominated by new media and conceptual space installations. The “end of painting” was proclaimed once more, and yet Richter remained loyal to his medium. And so he has been celebrated as the new “prince of painting,” alongside fellow brush-and-canvas colleagues like Neo Rauch. Up until 2000, Daniel Richter painted abstract pictures exclusively, but his newer works show a surprising turn towards the figurative, blending a sophisticated use of color and composition with grotesque formal elements and art historic quotations. This large-format publication is the first to present Richter's drawings in full-color illustrations.