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Verso of Gerhard Richter’s Sänger (Singer), 1965–66, showing a 1966 Color Chart painting, oil on canvas, 41 × 29 1/8".

Gerhard Richter

Lévy Gorvy | London

Verso of Gerhard Richter’s Sänger (Singer), 1965–66, showing a 1966 Color Chart painting, oil on canvas, 41 × 29 1/8".

Seeing Gerhard Richter’s early “Farbtafeln” (Color Charts) reassembled for the first time since their initial presentation at Galerie Friedrich & Dahlem in Munich in 1966 is an opportunity not only to gain a better sense of how they function together as an installation but also to revisit the crucial moment when the artist decided to develop them as a group alongside his black-and-white photographic images already under way. At Dominique Lévy, nine of the original nineteen Color Charts from 1966 are shown along with a Ducolux sample card that had provided the template for liberating color from any psychological and musical associations. A further early Color Chart, a rare one in all reds,turns up on the back of a black-and-white photographic image, Sänger (Singer), 1965–66, which is affixed perpendicular to the gallery wall so that both sides can be seen. How the double-sided

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