RICHTER, DANIEL
1962 Eutin

Title: Untitled (7/02).
Date: 2002.
Technique: Oil on canvas.
Measurement: 50 x 40 cm.
Notation: Inscribed verso centre of the canvas: 7/02. Below this inscribed: 164. Inscribed with the work number on the stretcher: DR/K 164.
Frame: Framed.


The artist’s certificate for this work from 10.5.2021 is available.



Provenance:
- - Contemporary Fine Arts, Berlin (label and stamp)

- Rheingold Collection

- Private collection, North Rhine-Westphalia



- An early, high-quality work by an internationally sought-after artist

- A key work from the early 2000s, marking the transition from abstraction to expressive figuration

- The dynamic color contrasts and characteristic ensemble of figures exemplify Richter’s iconic visual language



With his multifaceted works, Daniel Richter has been one of the most influential figures in contemporary German painting since the late 1990s. Born in Eutin in 1962, the artist began his studies in 1991 at the University of Fine Arts in Hamburg under Werner Büttner and became an assistant to Albert Oehlen. Until 2000, Richter worked exclusively in the abstract, before increasingly incorporating figurative elements around the year 2000, which coalesce into narrative, often hallucinatory and exaggerated visual worlds. In doing so, he combines influences from mass media, pop culture, and art history. Richter’s painting oscillates between abstraction and figuration and stands in the tradition of Expressionism. In parallel with his artistic practice, Richter has held professorships in painting in Hamburg, Berlin, and Vienna since 2003. International exhibitions, such as those at the Louisiana Museum of Modern Art or the Schirn Kunsthalle Frankfurt, attest to his significance.

The 2002 painting unfolds against a dark, multi-layered, dynamic background. In the lower part of the picture, a group of shadowy figures appears, rendered in bright shades of yellow and outlined in light blue. Their bodies seem fleeting and barely tangible; individuality dissolves in favor of a collective impression. Over this lies a delicate network of dotted lines, reminiscent of a spider’s web while simultaneously evoking abstract structures of order. The scene remains deliberately open: a crowd seems to be forming, without any clearly discernible action—suspended between condensation and dissolution. Within Daniel Richter’s oeuvre, this work marks the transition from pure abstraction to figurative, narratively charged painting. The combination of gestural freedom, suggestive motifs, and a psychologically condensed pictorial space points to a phase in which subjective perception, social reflection, and a passion for painterly experimentation coalesce into a distinct visual language.



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