Творчество немецкого художника Герхарда Рихтера. Идеи. Алхимия краски: цвет и фактура. От портрета и пейзажа к абстракции, страница 34

[21] Hawker R. Idiom post-medium: Richter painting photography // Oxford Art Journal. – 2009. – P. 276.

[22]  Laxton S. As photography: mechanicity, contingency, and other-determination in Gerhard Richter’s overpainted snapshots // Critical Inquiry. – 2012. – Vol. 38. – P. 787.

[23]  Зонтаг С. О фотографии. С. 118.

[24]  Laxton S. As photography: mechanicity, contingency, and other-determination in Gerhard Richter’s overpainted snapshots // Critical Inquiry. – 2012. – P. 787.

[25] Storr R. Gerhard Richter: Forty Years of Painting. – New York: The Museum of Modern Art, 2002. – P. 299.  

[26] Ibid. P.68.

[27] Ibid. P. 68.

[28] Chevrier J.-F. Between the Fine Arts and the Media (the German Example: Gerhard Richter) // Photography and Painting in the Work of Gerhard Richter. Four Essays on Atlas. – Barcelona, 1999. – P.42.

[29] Ibid. P. 38.

[30] Ibid.

[31] Storr R. Gerhard Richter: Forty Years of Painting. – New York: The Museum of Modern Art, 2002. – P. 307.

[32] Buchloh B. Interview with G. Richter // Art in Theory 1900-1990. An Anthology of Changing Ideas. – Oxford UK, Cambridge, USA, 1993. – P. 1039.

[33] Ibid. P. 1039.

[34] Мнение Б. Бухло, озвучиваемое им во многих работах, посвященных творчеству Рихтера.

[35] Storr R. Gerhard Richter: Forty Years of Painting. – New York: The Museum of Modern Art, 2002. – P. 303.

[36] Ibid. P. 88.

[37] Ibid. P. 304.

[38] Ibid. P. 307.

[39] Ibid.

[40] Цит. по.: Storr R. Gerhard Richter: Forty Years of Painting. – New York: The Museum of Modern Art, 2002. – P. 77.       

[41] Ibid. P. 79.

[42] Elkins J. What painting is. – New York; London: Routledge, 1999. –  P. 4.

[43] Ibid. P. 82.

[44] Краусс Р. Заметки об индексе // Р. Краусс. Подлинность авангарда и другие модернистские мифы. – М.: Художественный журнал, 2003. – С. 217.

[45] Цит. Рихтера по: Hawker R. Idiom post-medium: Richter painting photography // Oxford Art Journal. – 2009. – P. 792.

[46] Laxton S. As photography: mechanicity, contingency, and other-determination in Gerhard Richter’s overpainted snapshots // Critical Inquiry. – 2012. – P. 778.

[47] Elkins J. What painting is. – New York; London: Routledge, 1999. – P. 110.

[48] Storr R. Gerhard Richter: Forty Years of Painting. – New York: The Museum of Modern Art, 2002. – P. 305.

[49] Laxton S. As photography: mechanicity, contingency, and other-determination in Gerhard Richter’s overpainted snapshots // Critical Inquiry. – 2012. – P.783.

[50] Происходит от глагола «übermalen», что означает «переписывать» (картину, фреску).

[51] Раппапорт А. 99 писем о живописи. – М.: НЛО, 2004. – С. 329.

[52] Там же.

[53] Там же. С. 330.

[54] Фридлендер М. Об искусстве и знаточестве. – СПб.: А. Наследников, 2013. – С. 107.

[55] Antoine J.-Ph. Photography, painting and the real. The question of landscape in the painting of Gerhard Richter // Gerhard Richter. – Paris, 1995. – P. 78.

[56] Ibid. P. 71.

[57] Зонтаг С. О фотографии. – М.: Ад Маргинем Пресс, 2013. – С. 29.

[58] Antoine J.-Ph. Photography, painting and the real. The question of landscape in the painting of Gerhard Richter // Gerhard Richter. – Paris, 1995. – P.77.

[59] Ibid. P.65.

[60] С более поздним вариантом этого полотна Вермеера («Читающая девушка в голубом») картину Рихтера роднят, скорее, композиционные особенности.

[61] Storr R. Gerhard Richter: Forty Years of Painting. – New York: The Museum of Modern Art, 2002. – P. 306.

[62] Раппапорт А. 99 писем о живописи. – М.: НЛО, 2004. – C. 331.

[63] Цит. по: Antoine J.-Ph. Photography, painting and the real. The question of landscape in the painting of Gerhard Richter // Gerhard Richter. – Paris, 1995. – P. 54.

[64] Storr R. Gerhard Richter: Forty Years of Painting. – New York: The Museum of Modern Art, 2002. – P. 75.

[65] Ibid.

[66] Ibid. P. 76.