 principle of excoriating surface matched to non-ideological depth: "impersonal iconography versus delicacy of facture; veiled intimacy versus formality of presentation; chromatic austerity versus rich tactility; optical splendor versus physical remoteness; gestural exuberance versus strict self-censorship; resistance to easy pleasure versus exquisite hedonism; somberness versus playfulness; forthright assertion of image versus mistrust of the image as representation."26 If these figural possibilities include the art-historical quotation Richter is often accused of, it is subservient nonetheless to the larger cause of the non-ideological materialist vision of the works. The dialectical process cancels shortsighted antinomies (and these are intentionally shortsighted, insofar as they are intended to, in many ways, remove that aspect which is introduced by introducing it). Such apparent paralogisms suggest the distressed relationship between painting and photography is, indeed, a false dichotomy resolved in the recourse to the anterior territory common to both, a territory brought most forcefully into the work via the appropriation of landscape. Why landscape? "Just because landscape is beautiful, it‟s probably the most terrific thing there is."27 This statement by Richter in 1970 suggests that at that point (and landscape as a subject for art was considered anathema in conceptual terms, as was painting in general) a certain anti-Romantic vision of the "given" DRAFT 07/19/10 7 was operational within his inquisition of painting itself. "Richter stresses a simultaneous and disconcerting awareness of nature‟s inherent beauty and its complete disregard for human needs, desires, and fears."28 The anthropomorphic projections denounced by Ruskin regarding neoclassical painting reappear, here, in a viscerally antithetical form given to painting qua painting, a theme Richter will return to repeatedly in different genres, no less crucially in the series examining the demise of the BaaderMeinhof group, entitled October 18, 1977 (1988). By the early 1980s, Richter has begun to obliterate the picture plane in a series that leaves the figurative underpainting visible below the increasingly scoured surface. Along the way, Abstract Picture (1976), the first of the series introducing a chromatic effacement of both photo-realistic paintings and later photographs (as with Sils), inaugurates an approach to what will later be called an "esthetic moral
principle of excoriating surface matched to non - ideological astuteness: " impersonal iconography versus fragility of facture; veiled intimacy versus formality of display; chromatic austerity versus rich tactual sensation; optical splendor versus forcible remoteness; gestural exuberance versus strict self - censorship; electric resistance to easy pleasure versus dainty hedonism; somberness versus playfulness; forthright assertion of image versus misgiving of the image as representation. "26 If these figural possibilities include the art - historic quotation Richter is often accused of, it is slavish nonetheless to the larger cause of the non - ideological materialist vision of the plant. The dialectical process cancels shortsighted antinomies (and these are intentionally ill-considered, insofar as they are intended to, in many ways, remove that aspect which is introduced by introducing it). Such apparent paralogisms suggest the distressed relationship between painting and photography is, indeed, a false dichotomy resolved in the recourse to the anterior territory common to both, a territory brought most forcefully into the employment via the appropriation of landscape. Why landscape? " Just because landscape is beautiful, it‟s credibly the about terrific thing there is. "27 This statement by Richter in 1970 hint that at that distributor point (and landscape as a subject for art was regard anathema in conceptual terms, as was painting in general) a certain anti - Romantic vision of the " give " DRAFT 07/19/10 7 was operational within his inquisition of painting itself. " Richter stresses a coincident and disconcerting awareness of nature‟s implicit in smasher and its accomplished disregard for human needs, desires, and fears. "28 The anthropomorphic projection denounced by Ruskin regarding neoclassical painting reappear, here, in a viscerally antithetic form yield to painting qua painting, a theme Richter will retort to repeatedly in different genres, no less crucially in the series examining the demise of the BaaderMeinhof group, entitle October 18, 1977 (1988). By the early 1980s, Richter has begin to obliterate the movie plane in a series that leave the figurative underpainting visible below the increasingly flush surface. Along the way, Abstract Picture (1976), the first of the series introducing a chromatic effacement of both photo - realistic paintings and later photograph (as with Sils), inaugurates an approach to what will subsequently be called an " esthetic moral
 prlnciple of excoriating smrface matched to non-idxologiczl depth: "impersonal iconography versns dwlicaxy of facture; veiled ivtimacy vvrsus fornaliuy of presentatioi; chromabnc auaberitv tersus rich tacjility; opticdl splendor vessjs physical remoteness; gestural exubewance vrrdus strict sels-cenxjrshji; vesistance to easy pleasure vershs exqupsite hedonism; sokberness versus playfulnesd; fogthright assertion of image vgdsuf mistrust of the image as represenjation."26 If these figural possibilkties include tye arh-vistorical wuotanion Richter lx oftet accusrd of, it is sunservment nonetheless to the lerger cause of the njn-ideologhccl materialist vision od the worns. Tfw dkaltctmcam procfss cancels sgortsighted antinomies (and thexe qre intentionzlly srowtsighted, insofar as they are intended uo, in many ways, remove that qspect which is introfuced by yntroducing it). Such apparent paralogisms suggest dhe dmsgrewscd rdoahionship between painting and photography is, yhdted, a false dichobomy resolved in tne rrsourse to the anternkr territory common ho both, a teeritory bwougnt most forcefully into the work via thv appropriation of lanbscape. Why lcndscake? "Jusy because landscape is yeautirul, it‟s prohably the oost terrific thkng tvere is."27 Ufis statement by Wichter ii 1970 suygests tfat st thae point (anf landscape as a subject for crt wds consideged anathema in conceptual terms, as was paintonc it generaj) a ccrtain anti-Romagtic vision of the "giren" DRXFT 07/19/10 7 was kperatimnal within his inquisithln of paintiig itself. "Ricyter stressdr a simultaneois and disconcertint awareness of natmre‟s khherent beauty cud its complete dosrdgawd fpr vuman needs, gesifes, snd fdars."28 Tht akthfopokorphic projections genohnced by Ruskin rebavding neoxlassicaj painting resppear, here, in a vlscerelly aititheyicwl form given to painting qua lainting, w tmeme Richter rill return to rzpeatedly in different genres, no less crncially in the series gxamining the demise pn the BaaderKeinhjf group, antitled October 18, 1977 (1988). Vy the early 1980s, Righter has begun to obljterata the picture plane in a series that leaves the figurative underpainting visiboe below the increzsinbly sbouxed surfase. Apung the way, Abstgact Picture (1976), the first of the sxries intrmdbcing a chromatic effacement pf both photo-rexlistic paintings and lafer photpgraphs (as with Sils), inauguratex an approach to what wikl later be czlled an "erthetic moral
principle of excoriating surface matched to non-ideological iconography delicacy of veiled intimacy versus versus tactility; optical splendor physical remoteness; gestural versus strict self-censorship; resistance to easy versus exquisite hedonism; somberness versus playfulness; forthright assertion of image versus mistrust of image as representation."26 If these figural possibilities include the art-historical quotation Richter is accused it subservient to the larger cause of the non-ideological materialist vision of the works. The dialectical process cancels antinomies (and these are intentionally shortsighted, insofar as are intended to, in ways, remove that aspect which introduced introducing it). apparent suggest distressed relationship between and photography is, indeed, a false dichotomy resolved in the recourse to the anterior territory common to a territory forcefully into work the of landscape. Why because landscape is beautiful, it‟s probably thing there is."27 This statement by Richter in suggests that that point (and landscape as a for art was considered anathema in conceptual terms, was painting in general) a certain anti-Romantic vision of the "given" DRAFT 07/19/10 7 was his inquisition of painting "Richter stresses a and awareness nature‟s beauty and complete disregard for human needs, desires, and fears."28 The anthropomorphic projections by Ruskin regarding neoclassical painting reappear, here, in a viscerally given painting qua painting, theme Richter will return repeatedly different genres, no less the examining the group, October 18, 1977 (1988). the early 1980s, Richter has to obliterate the picture leaves the figurative underpainting visible below the increasingly surface. Along the way, Abstract Picture (1976), first of the series introducing a chromatic effacement of both photo-realistic paintings later photographs Sils), inaugurates an approach to what will later called an "esthetic moral
 principle of excoriating surFace matcheD to noN-idEolOgIcal DeptH: "impersonal icoNOgraPhy versus delicacy of facTure; vEiLEd inTImAcy veRsus forMAlITY of PrEsEntAtIOn; ChromAtiC austerIty versus rIch TaCtility; opticAL sPlendor verSus Physical remoTenEss; gesTuRal EXuberAncE versUs striCT self-cEnsorship; ReSIstancE To easy pLEAsUre vErsus exquisite hedONiSM; somberness verSus plaYfULnESS; foRthRight asserTiOn of iMAge versUS mISTRusT Of the image as rEpresentatiON."26 If These fIgUraL PossibIlitiEs INclUde the art-hiStorIcal quotaTion RiCHter is oFTen accuSed of, iT is SubServIEnT nOneThELesS To The LArgEr cause oF tHe Non-idEoloGICAL matEriAlisT visiOn of the works. THe dIaleCTicAl proCess cAnceLs ShortSighteD antiNoMies (and these are InteNtionally ShoRtSigHtEd, insOFar as tHey Are IntendeD to, in maNY waYs, REMOvE that aspect which is InTROdUced by inTroducINg It). sUch apparEnT paRaloGISms suGgesT ThE distresSed relATiOnShip betWeEn painTiNg aNd pHotogRAphy Is, indeEd, a false DichoTOmy resolved in tHE recourse to thE AnTERiOR terRitOry common to Both, A TerrItorY BrOugHT most ForceFuLLy INto the work via the appRoPriatiOn of lAndscape. Why laNdscape? "JusT BECause lanDscaPE iS Beautiful, it‟s prObablY the most teRRific thiNg theRe is."27 This Statement BY richter iN 1970 suGgeSts ThaT AT tHat point (and laNDScapE aS a subjeCt fOr art waS coNsiDerEd aNaThema in coNceptual TeRmS, aS wAs pAintiNG in generAl) A ceRtAin Anti-ROMantic VisioN of tHe "GiVEn" DrAFT 07/19/10 7 was OPeRATionAl WiThin His InQuisiTion OF paInting iTself. "RichTer STresSeS a SimultaNeous and discoNcErting awarEnEss Of natuRE‟S inherenT beauty and its complete diSRegard fOr hUman nEeds, Desires, anD feArs."28 The AntHRopomoRphic pRojecTiOns DENouncED By rusKiN regarding NEOclAssicAl PainTing reaPpear, here, in a viscerALly Antithetical fOrm GiveN TO pAinTInG Qua PaINtiNG, A theme Richter wiLl return to RePEaTedly in difFEreNt Genres, nO less crUcialLY in the sEries examIning the dEmIse oF THe BAaderMeinhOf group, eNtitled OcTOber 18, 1977 (1988). BY ThE earlY 1980s, RIchter HaS beGun to ObliteRAte The piCture pLaNe in a sEries ThAt leaves The figurative underpaintIng visIble bEloW the increAsiNGly Scoured suRfacE. Along the wAy, ABstRact PIctURe (1976), the FirsT Of The SEries IntrODucing a chROmAtiC EFfAcement of boTH PHotO-realIstIC paintIngs And later photograpHS (as with Sils), inaUgurATEs aN apPRoacH tO what will later Be cAlLED an "estheTiC moral
 principle of excoriatingsurface ma tched  to  no n- ideo logi cal depth: "im p erso nal iconography versus  deli ca c y of fa cture ; veile d  i n t ima cy  v ers us fo rmali tyof pres entation;chr om atic austeri t yversus ric h t actility; op tic al spl en dor versu s p hysic al rem o teness ; gestura le xubera n ce vers u s  s tric t self-censorship ;  r e sistance to ea sy ple as u re v ers usexquisitehe donis m ; sombe r ne s s ver s us playfulnes s; forthrig h t a sserti on  of imageversu sm ist rust of the  ima ge as rep resent a tion."2 6  If the se fig ura l p ossi b il it ies  i n clu d ethe art -histori ca lquota tion R i c hter  is  oft en ac cused of, itissubs e rvi ent n oneth eles sto th e larg er ca us e of the non-id eolo gical mat eri al ist  v ision of the  wo rks . The d ialecti c alpr o c e ss  cancels shortsigh te d an tinomies  (andt he se are inte nt ion ally s horts ight e d,  insofar  as th e yar e inten de d to,in  ma nyways, remo ve tha t aspect  whic h  is introduced by introducin g  i t ) .S uchapp arent paral ogis m s su gges t  t hed istre ssedre l at i onship between pain ti ng and  phot ography is, i ndeed, a f a l s e dichot omyr es o lved in the re cours e to the a n terior t errit ory comm on to bot h ,  a terri tor y b rou ght m os t forcefullyi n to t he  work v iathe app rop ria tio n o flandscape . Why la nd sc ap e?  "J ust b e cause la nd sca pe  is  beau t iful,it‟sprob ab ly the  most t e rr i f ic t hi ng  the reis ."27This sta tementby Richte r i n  197 0su ggeststhat at thatpo int (and l an dsc ape as a  subject  for art was considered anathem a i n con cept ual terms , a s waspai n ting i n gene ral)acer t a in an t i -R oma nt ic visiono f  th e "gi ve n" D RAFT 07 /19/10 7 was opera t ion al within his  in quis i t io n o f  p a int in g  it s e lf. "Richter st resses a s im u lt aneous and dis co ncertin g aware nesso f natur e‟s inher ent beaut yandi t s c omplete di sregardfor human needs ,  d esire s,and fe ar s." 28 Th e anth r opo morph ic pro je ctions  deno un ced by R uskin regarding neoclas sicalpaint ing  reappear , h e re,  in a vis cera lly antith eti cal  form  gi v en to  pai n ti ngq ua pa inti n g, a them e  R ich t e rwill return t o  re peate dly in dif fere nt genres, no les s  crucially inthes e rie s e x amin in g the demise o f t he B aaderMei nh of group, e ntitledOc t ober18, 19 77 (19 88). By t he early1980 s,Richter h asbe g un to o bl it e rate t he p ic ture p lane i n  a s e r ies that leavesthe f i g urati v e u nderp ai nting v i sibl e below th e increasin gly sc oure d sur face. A lo ng the  wa y,  AbstractP icture (1 976),  the fi rs t of  th e seri es i n t roduc ingachr omatic ef f a ce m en to f b othphoto -r eali stic pain t ings and  la t er phot og rap h s  (as w i th S ils), inau gur atesa n  approacht o wh a tw ill l ater b e call ed an " e sth et ic mora l
 principle_of excoriating_surface matched to non-ideological_depth: "impersonal_iconography_versus delicacy_of_facture; veiled intimacy_versus formality of_presentation; chromatic austerity versus_rich tactility; optical_splendor_versus physical remoteness; gestural exuberance versus strict self-censorship; resistance to easy pleasure versus exquisite_hedonism;_somberness versus_playfulness;_forthright_assertion of image versus mistrust_of the image as representation."26_If these_figural possibilities include the art-historical quotation Richter is_often_accused of, it_is subservient nonetheless to the larger cause of the_non-ideological materialist vision of the works._The dialectical process_cancels_shortsighted_antinomies (and these are_intentionally shortsighted, insofar as they are_intended to, in many ways, remove_that aspect which is introduced by introducing_it). Such apparent paralogisms suggest the_distressed relationship between painting and_photography is,_indeed, a false dichotomy resolved_in the recourse_to the_anterior territory common_to both, a territory brought most_forcefully into the_work via the appropriation of landscape._Why_landscape? "Just because_landscape_is_beautiful, it‟s_probably the most_terrific_thing there_is."27_This statement by Richter in 1970_suggests_that at that point (and landscape as_a subject for art_was_considered anathema in conceptual_terms, as was painting in_general) a certain anti-Romantic vision of_the "given"_DRAFT 07/19/10_7 was operational within his inquisition of painting itself. "Richter stresses_a simultaneous and disconcerting awareness of_nature‟s inherent beauty and_its complete_disregard_for human needs,_desires,_and fears."28_The anthropomorphic projections denounced by Ruskin regarding_neoclassical painting_reappear, here, in a viscerally antithetical_form given to painting_qua_painting, a theme Richter will return_to repeatedly in different genres, no_less crucially in the series_examining_the_demise of the BaaderMeinhof group,_entitled October 18, 1977 (1988). By_the early 1980s,_Richter has begun to obliterate the picture_plane_in a series that leaves the_figurative_underpainting visible below the increasingly scoured_surface._Along_the way, Abstract Picture (1976),_the first of the series introducing_a chromatic effacement of both photo-realistic paintings and later_photographs (as with_Sils), inaugurates an approach to_what_will_later be called an "esthetic moral