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Offset print with varnish coating on chromo board. Self-portrait by Gerhard Richter, produced in 1971, is an offset print with a varnish coating on chromo board, measuring 21 × 23 cm and issued in an edition of 120. Presented in stark black and white, the image depicts a sculptural head—resembling a death mask or mannequin—placed atop a weathered vertical plank, centrally positioned in a dark, ambiguous space. The minimal yet haunting composition plays with scale, identity, and presence, questioning the traditional format of self-portraiture. By isolating the head and reducing the body to an abstract form, Richter creates a disquieting meditation on self-image and the fragmentation of identity.
Self-portrait, 1971
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21 x 23 cm
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Details
Artist
Styles
Offset print with varnish coating on chromo board. Self-portrait by Gerhard Richter, produced in 1971, is an offset print with a varnish coating on chromo board, measuring 21 × 23 cm and issued in an edition of 120. Presented in stark black and white, the image depicts a sculptural head—resembling a death mask or mannequin—placed atop a weathered vertical plank, centrally positioned in a dark, ambiguous space. The minimal yet haunting composition plays with scale, identity, and presence, questioning the traditional format of self-portraiture. By isolating the head and reducing the body to an abstract form, Richter creates a disquieting meditation on self-image and the fragmentation of identity.
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What is Nouveau Realism?
Nouveau Réalisme is an artistic movement founded in 1960 by art critic Pierre Restany and painter Yves Klein during a collective exhibition at a gallery in Milan. Restany wrote the original manifesto in April 1960, proclaiming the movement. In October of that year, nine artists, including Martial Raysse, Yves Klein, Daniel Spoerri, Jean Tinguely, Arman, Pierre Restany, and three Ultra-Lettrists—Jacques de la Villeglé, François Dufrêne, and Raymond Hains—signed the declaration. In 1961, the movement expanded to include Mimmo Rotella, Niki de Saint Phalle, Gérard Deschamps, and César. The movement emphasized a return to reality in art, often incorporating everyday objects and exploring the boundaries between art and life.
