Cage f.ff III
Cage f.ff III
Signed Print
Gerhard Richter
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Lithograph
Edition size: 30
Year: 2015
Size: H 90cm x W 90cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection
Meaning & Analysis
Product of the creative genius of acclaimed German artist, Gerhard Richter, Cage f.ff III is a signed lithograph print from 2015. Issued in a limited edition of 30 and part of the Cage f.ff series, it is a standout example of Richter’s signature approach to abstraction: an artistic methodology - and philosophy - with which he first began to experiment in the 1970s. The print is after a 2006 painting by Richter, which itself is part of the Cage series.
Like other prints that make up Richter’s Cage f.ff series, such as Cage f.ff II, Cage f.ff III is a standout example of Richter’s approach to abstraction - a practice that opposes itself to the artist’s many realist and photorealist paintings of historical figures and family members, such as Betty (1991), Elisabeth II (1966), and Onkel Rudi (2000). In this work, greys, whites, reds, and blues collide in a chaotic, dynamic assemblage of oil paint; an almost three-dimensional piece made ‘flat’, the work is sure to reference the process of its own construction.
To construct these unique abstract works, after which these lithograph prints are made, Richter first paints a canvas with a base layer of colour. As his assistants confirm, to do this Richter restricts himself to using so-called ‘classic’ colours, including titanium white, ivory black, cadmium, ultramarine blue, and lemon yellow. When making his abstract paintings, Richter never uses earth tones. Once a base layer of colour is applied, Richter disrupts the individual layers of paint with large home-made ‘squeegees’, themselves daubed with new and often conflicting tones of oil paint.
