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Gerhard Richter Painting [Blu-ray] [2011] [US Import]

Blu-ray
3.7 out of 5 stars  See all reviews (7 customer reviews)
Price: £12.23
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Product details

  • Format: Subtitled, Widescreen
  • Language: German
  • Subtitles: English, German
  • Region: Region A/1 (Read more about DVD/Blu-ray formats.)
  • Aspect Ratio: 16:9 - 1.85:1
  • Number of discs: 1
  • Classification: Unrated (US MPAA rating. See details.)
  • Studio: Lorber Films (Kino)
  • DVD Release Date: 25 Sep 2012
  • Run Time: 97 minutes
  • Average Customer Review: 3.7 out of 5 stars  See all reviews (7 customer reviews)
  • ASIN: B008E0O4G4
  • Amazon Bestsellers Rank: 154,439 in DVD & Blu-ray (See Top 100 in DVD & Blu-ray)

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Customer Reviews

3.7 out of 5 stars
3.7 out of 5 stars
Most Helpful Customer Reviews
16 of 16 people found the following review helpful
5.0 out of 5 stars Great Richter film 16 May 2012
Format:DVD
Gerhard Richter Painting is a visual treat for fans of his work. Often with art documentaries we get to see a few minutes of an artist working, not here though. The DVD has a running time of over an hour and a half and much of that is Richter working in the studio.

We see the daily life of the studio, interviews with Richter's assistants and Gerhard in conversation. The film can be quite slow in places, demanding your complete attention. It's great to view the early stages of some of his works in the studio. Many of these early stages remind me of de Koonings late works. At points in the film Richter's works often look complete yet he continues to develop these, sometimes a step too far. This is the case with every artist and it's great Corinna Belz was allowed to keep such moments in the film. Richter even admits to feeling uncomfortable whilst being filmed.

As an artist myself I now have a new respect for his recent abstract works after watching this film. Richter is in his own way quite a charismatic and engaging character. Richter has always been an inspiration.

Richter's past glories are only touched on briefly, this is a film about the artist today instead of a retrospective. The film gives us glimpses of several of his exhibitions and there are many high quality still shots of his work from these shows. There are some worthwhile extras in the form of an interview with Richter and the original film notes are attached as a PDF.

Personally I enjoyed the quietness and slow pace of this film. It's a DVD that you can dip in and out of, and watch more than once. So for fans of Richter and those who wish to take a gamble on purchasing this film I can recommend.
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10 of 11 people found the following review helpful
3.0 out of 5 stars disappointed 23 Aug 2012
Format:DVD|Verified Purchase
I greatly admire Gerhard Richter's work and having seen the Retrospective at Tate Modern I was thrilled to find a DVD where I could see him talk about his work. The film is beautifully shot and fascinating except that since it had to have subtitles,one could barely read them.They are too small and cramped, and the changing background tones often obliterated them. This is a huge disappointment and surprising, considering the quality of the film.
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5.0 out of 5 stars just wonderful 11 Feb 2014
Format:DVD|Verified Purchase
I absolutely love the work of Richter and to see him actually working on those huge canvases was a real insight and a treat-even though Richter himself seemed not to have felt comfortable being filmed! Much of the film is in Grerman with subtitles-Normally I am not a fan of subtitles but in this case it made no difference to my enjoyment of the film. I would highly reccomend this to anyone interested in Richter and in abstract art.
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10 of 15 people found the following review helpful
Format:DVD
Arshile Gorky's wife reported, when he was still working in his New York studio, that she would see a canvas in one state, and, by the time that she awoke, it had been worked upon so much that it was largely unrecognizable. There are elements of this in what Gerhard Richter seeks to achieve in spite of the presence of those filming him at work, but that is the territory of this kind of work, and, really, it ought not to be too surprising (to which I shall return later).

Rather than wondering, rather pointlessly, whether Gorky would have allowed director Corinna Belz in when he was working, I can only profess admiration for Richter that, despite the fact that it was putting him off, he did not close down the access. That said, whether he would have welcomed - or, if given the choice, approved of - the temporal juxtaposition of how what he was working on looked at different moments, I do not know.

What I do know is that he loads the squeegee with paint, and then has to say that what he was about to do cannot be done then, because it will not succeed. Whatever Richter may 'really' be like, he gave the impression on camera of being a sensitive man, and he seemed unnerved that he had started preparing for something that was not possible, and which, one would like to think, he might not have done, if he had felt at ease. He did not, not when trying to work on his canvases.

Indeed, following on from that, if we invest an artist and his or her work with worth, then we have to leave him or her free to decide when a work is finished, and what is effective and what is not.
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