Daniel Richter – Greif zur Feder

Sale price€1.900,00

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Daniel Richter (German, born 1962)

Greif zur Feder, 2020

Medium: Lithograph on wove paper

Dimensions: 53.5 x 76.0 cm (21.1 x 29.9 in)

Edition of 30: Hand-signed and numbered

Condition: Mint

This artwork ships worldwide.

About this artwork

Daniel Richter – Greif zur Feder

Daniel Richter’s Greif zur Feder (2020) is a powerful contemporary lithograph that merges expressive figuration with bold graphic text. Executed in deep blue and vibrant red tones, this print juxtaposes a dynamic human form with hand-rendered typography that evokes both protest and poetry.

A rare edition of only 30, this artwork exemplifies Richter’s command of color, gesture, and political symbolism. Collectors of contemporary prints and art editions will appreciate how this work captures the artist’s ongoing dialogue between painterly emotion and social commentary.

Daniel Richter - Talk is Cheap

About Daniel Richter

Daniel Richter, born in 1962 in Lütjenburg, Germany, is a towering figure in contemporary art, celebrated for his striking, large-scale paintings and prints that oscillate between abstraction and figuration. Since the 1990s, Richter has left an indelible mark on the German art scene, solidifying his status as a leading figure in contemporary painting. Initially known for his abstract artworks, he underwent a significant evolution at the dawn of the new millennium, integrating narrative elements and vivid explorations of political and social themes into his practice.

Richter’s chosen medium, classical oil painting, contrasts with his use of contemporary imagery drawn from mass media, popular culture, and art history. Central to his artistic vocabulary is the depiction of artificial light—flashlights, thermal images, and X-rays—used as tools for subversive commentary on current events. His paintings and prints often delve into the theme of total surveillance, reflecting both his engagement with anarchic movements and a persistent sense of paranoia and unease. The recurring use of infrared and thermal imaging highlights his critical stance on contemporary society’s surveillance culture.

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