Have you ever wondered how someone was able to get their hands on an original Picasso, Bacon, or Richter? Keep reading to learn the precise approach to securing one yourself.
The newly remodelled Kunstpalast Museum was alive with the constant rhythm of footsteps, a soft, uneven cadence that filled every corner of the space. The scuff of shoes on polished floors created an energetic symphony, as the crowd moved ceaselessly with the aim of catching a better view of the canvases on the walls. Whilst everyone around me admired the art, my attention was caught by the ever-repeating ownership label beneath each piece.
Privatsammlung, Nordrhein-Westfalen.
Private Collection, North Rhine-Westphalia.
The words printed in what might have been the smallest font imaginable, stuck out to me like a sore thumb. It’s a common practice for museums to include ownership labels of artwork in exhibitions to credit lenders and connect the viewer to a broader story of each piece. Ranging from institutional lenders to private collectors, the sheer quantity of canvases labeled with private ownership in the exhibition lead me to question the ways in which the art pieces were acquired and the deeper connection that the owners must have developed with the artist.
Starting this autumn, the Kunstpalast Museum in Düsseldorf showcases an incredibly unique exhibition titled Gerhard Richter: Verborgene Schätze. Translating to “hidden treasures”, the exhibition brings together more than 100 pieces across Richter’s evolution from the early 1960s to the present day. As the most extensive Gerhard Richter exhibition to be showcased in Germany for over 10 years, the key feature is that a majority of the selected exhibits are hidden treasures; artwork from private collections rarely - or perhaps never - shown to the public before. The question forms itself: how can one successfully sustain a friendship with an artist long enough to be presented with an original piece? Richter’s artist evolution and turbulent career paves the way for a simple 3-step guide that should ultimately land you one of his works.
Step 1: Aid with Difficult Decisions
The first step to successfully obtaining an original artwork is to encourage the artist to make decisions that align with their best interests. This not only involves providing genuine support but challenging the person, when needed, to ultimately nudge them towards a choice that expands their potential and opens new doors for personal growth. In no circumstance should you impose your own perspective but rather, suggest possibilities that they might not see themselves. This kind of encouragement demonstrates support for the artist’s journey towards better opportunities, laying the foundation for them to produce their best work.
These kinds of complex decisions were highly necessary for Richter’s career to flourish. Born in the eastern German city of Dresden the year before the National Socialist Party came to power, Richter’s life was divided in two during the fractured 20th century. Having grown up under the Nazis regime and reaching adulthood in the Soviet-controlled German Democratic Republic, left Richter completely averse to all possible ideologies and in a thirst for a clean canvas. In the summer of 1961, the artist and his wife Marianne (Ema) packed their bags and swiftly made their way for the Federal Republic through the last loophole in West Berlin, with plans to reach Munich. Had they postponed their decision by a few weeks, they would have missed their chance; the Berlin Wall went up in August of 1961 and established the border between the two sides of the country that would last for an entire generation.
Whilst awaiting for their official naturalization, Richter visited Düsseldorf to see a former classmate and sculptor, Reinhard Graner. Richter recalled in 2015 that it was Graner who urged him not to go to Munich, the traditional yet conservative art city that Richter had originally intended on, but to stay in Düsseldorf. “I had no idea where to go,” says Richter, “ I told [Graner] that I should probably move to the art city of Munich, and he replied, ‘No, for God's sake, Düsseldorf is the art city.’” Graner’s advice decisively changed Richter’s original plans, allowing him to navigate his artistic development in a new direction. This pivotal moment, entering a new environment and settling in Düsseldorf, was the beginning of Richter’s existence as a free artist.
Step 2: Provide Unwavering Support
The second step, arguably the most crucial one, is to provide unwavering support in moments of uncertainty and exploration. When it comes to an artist venturing into the unknown - pursuing new ideas, techniques and motifs - it is essential to be a consistent pillar of encouragement. By standing beside them during transformative moments, you not only deepen your relationship but position yourself as a trusted figure. It’s this unwavering support that often inspires the creation of something truly original and meaningful, whether it be a work of art or a deeper understanding of the relationship itself.
Settling in the Rhineland allowed Richter to pursue his series of Grey Paintings that are particularly prominent amongst private collectors. Creating the first one in 1966 was a symbolic step for Richter into the world of abstract art. It is crucial to recognise that these works were not just creative statements but a vehicle for Richter to step into an uncharted future. When he and his wife arrived in Western Germany, Richter had destroyed nearly everything that he had produced thus far. The distinct choice of the color grey in paintings such as Weinernte (Vintage, shown below), allowed Richter to confront the void that had inevitably formed as he transformed from a state-employed East German painter to a West German artist.
Step 3: Nurture Your Relationship
The third and final step on how to obtain an original piece is to nurture your relationship with the artist - a process that requires mutual respect and genuine investment. Building a meaningful connection requires consistent engagement and a sincere appreciation for the artist’s creative journey. This means being present not just at the peak of their achievements, but during the less visible moments of the process. For Richter, cultivating relationships with those around him was crucial as he never truly felt like he belonged anywhere. Unheimlich, as the Germans would say, which most commonly translates to eerie but could also mean, quite literally, unhomely in an unsettling way. Nevertheless, this did not stop him from enrolling at the Düsseldorf Art Academy upon his arrival to Western Germany where he met Sigmar Polke and Konrad Lueg. The artists became very good friends and curated their first joint exhibition in the spring of 1963, along with Blinky Palermo, marking the first of many exhibitions of Richter in the Rhineland. An empty gallery on Kaiserstrasse, not far from the Kunstpalast Museum, and a group of talented young artists was enough to immediately attract a curious, yet sceptical crowd. Pop Art had already made its way to Germany during the time of the exhibition, a term that was still so new but allowed Richter to stand out with his technique.
In many ways, Richter, and artists in general, are dependent on each other and their collectors. With a strict sense of equivalence, Richter exchanged a good portion of his work with artist friends and gave away paintings whenever the opportunity arose. His art also functioned as a token of his friendships, evident in the way he sent a small painting to architect Karl Wimmenauer, a colleague of Richter’s at the Düsseldorf Art Academy for his 80th birthday.
“Do you know the purchasing motivations of your collectors?” asked art critic Gislind Nabakowski in 1974. “Sometimes,” replied Richter, “I can only speak of those who interest me, they depict in their own way, they collaborate, they are biased, they - how should I put it - by accepting a picture, they make it what it should be.” This statement possesses the essence of a fruitful relationship between an artist and those who engage with their work. Richter, who once described art as “the highest form of hope,” found purpose and meaning in the connections he cultivated through his creative process. Ultimately, the common thread of Richter’s career is that it was the people around him - their acceptance, encouragement, and collaboration - that enabled his prosperity. Reinhard Graner urging Richter to move to Düsseldorf to pursue his career, Konrad Fischer, along with many others, displaying his work are a testimony to the bonds built being as integral to Richter’s art as the canvases themselves. The true Schätz, then, is not getting your hands on an original piece but in the friendships and connections made along the way. As we reach the end of 2024, take the time to cherish the relationships that bring joy and growth as they are the foundation to a brighter year ahead.
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