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In stark contrast to this is the series entitled "Releasing Abstraction," in which Richter's glum imagery gives way to bursts of color in the form of large, bright canvas works from the 1980s. "Glenn" and "June" -- both works taken from French archives
-- feature vivid reds, blues and yellows painted in different layers and at different times. Richter calls it "a highly planned kind of spontaneity." Clearly savoring the momentary positivity, curator Camille Morineau called it her favorite part of the collection: "It's a real explosion of joy. He was happy when he painted them." Another source of joy for Richter was fatherhood. Intimate works such as "S. with Child" -- based on his wife with their newborn child
-- seem even more striking in their contrast with the glass and digital works, which distance the spectator from the artist in their neutrality. "I have painted my family so frequently because they are the one who really affect me the most," said Richter. Despite links to his family and the past, Richter remains thoroughly engaged in the world around him. His final work, "Strips" from 2011, which caps the exhibit, explores how traditional painting can be reconciled with the rise of digital culture. Richter celebrated his 80th birthday in February -- but with more projects in the pipeline, it seems he has no intention of letting age slow him down.
[Associated
Press;
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