4- gerard richter

fazla uzakta aramaya gerek yok, wikipediadan kisa bir alinti

Richter's work is full of tension between depicted reality and the actuality of painting: process and material. From the 1950s and his time in Eastern Germany's Dresden, dresden, gitmeden gittigimi sandigim yerlerden birtanesi. "photographic imagery"the artist has been known for his photo-paintings, particularly his landscapes, and his involved abstract paintings. Despite the scope of this body of work—which is commonly misunderstood as polar—Richter's paintings consistently support a unified theme that is twofold: 1. Images (and ideas and ideals) are static, superficial, unachievable and are to be doubted; and, 2. Reality is a process of imagination, material creation and revision. Richter’s subject is the range of relationships between illusion and this reality, his painting.
Richter has stated that the use of photographic imagery as a starting point for his early paintings resulted from an attempt to escape the complicated process of deciding what to paint, along with the critical and theoretical implications accompanying such decisions within the context of a modernist discourse. To achieve this, Richter began amassing photos from magazines, books, etc, many of which became the subject matter of his early photography-based paintings. Thus the Atlas was born; a collection of thousands of photographs, and cropped magazine and newspaper images, compiled in a single volume.

bu link de benden: gadamer the relevance of the beautiful
http://www.amazon.com/Relevance-Beautiful-Other-Essays/dp/0521339537