葛哈·李希特(Gerhard Richter)高清作品《男子击落1》
作品名：男子击落1
艺术家：葛哈·李希特
年代：1988
风格：新欧洲绘画
类型：比喻
材质：布面油彩
尺寸：100 x 140 cm
收藏：现代艺术博物馆（现代艺术博物馆），纽约市，纽约，美国
在他的大部分职业生涯中，李希特避免了他的作品中的主题。一个显著的例外是1977年10月18日的系列，其中他描述了激进的Baader-Meinhof，他们在监狱中莫名其妙地死去（至今仍不清楚这些年轻的激进分子是还是被谋杀）。在Erschossener 1（人被击落1）中，Richter使用了摄影参考来创作一幅模糊的、单色的死囚画。这个病态的场景可以说是行动背后的虚荣的例证；同时，形象的持续模糊复制了囚犯死亡背后的永恒神秘，以及无法在任何一张画布上安全地捕捉。英国皇家空军阵亡成员的照片引起了批评性反应，1980年10月，德国斯特恩杂志上刊登了这些原始照片。然而，根据里希特的说法，这些反应彼此不同：我想说这张照片会引起恐惧，而那幅画——具有相同的主题——更像是悲伤。这与我的意图非常接近。(与Jan Thorn-Prikker关于1977年10月18日的对话，1989年，第229页)Gerhard Richter的艺术改编创造了一个远离事件的距离，并且使观看者能够在一个没有判断的层面上思考的死亡。不要偏袒任何一方。
Title:Man Shot Down 1
artist:Gerhard Richter
Date:1988
Style:New European Painting
Genre:figurative
Media:oil,canvas
Dimensions:100 x 140 cm
Location:Museum of Modern Art (MoMA), New York City, NY, US
For most of his career, Richter avoided political motifs in his work. A notable exception is the series October 18, 1977, in which he depicts radical Baader-Meinhof terrorists who inexplicably died in jail (it remains unclear to this day whether these young radicals committed suicide or were murdered by the police). In Erschossener 1 (Man Shot Down 1), Richter has used a photographic reference to create a blurred, monochromatic painting of a dead inmate. The morbid scene might be said to exemplify the vanity behind the terrorists actions; at the same time, the persistent obscurity of the image replicates the eternal mystery behind the inmates deaths, as well as the impossibility of securely capturing truth in any one canvas.Gerhard Richters paintings of the dead RAF members caused critical reactions, as did the publication of the source photographs in the German magazine Stern in October 1980. However, the reactions differ from each other according to Richter: Id say the photograph provokes horror, and the painting – with the same motif – something more like grief. That comes very close to what I intended. (Conversation with Jan Thorn-Prikker concerning the 18 October 1977, 1989, p. 229) Gerhard Richters artistic adaptation creates a distance from the events and enables the beholder to reflect on the terrorists deaths on a judgement-free level, without taking sides.