아우슈비츠 이후 예술가의 책무 - 게르하르트 리히터[Gerhard Richter]의 <가족초상화시리즈>(1965)를 중심으로 - = The Responsibilities of Artist after Auschwitz: Gerhard Richter's < Family portraits series >(1965)

다국어 초록 (Multilingual Abstract)

Gerhard Richter (1932 ~), in his family portrait series (1965), delves into the responsibilities of artists after Auschwitz. His family portrait series turns the monochrome photos of his uncle, aunt, and father that had been taken during the Nazi period and former East Germany era and were found in his family album into grisaille paintings. The portrait series sparked debates at a global level in a wide array of exhibition contexts as they are associated with the Nazi era and World War II. That has led to Gerhard Richter’s journey as an artist of photo-painting being interpreted in the historical context while the boundaries between the private and public realms suggested by Joseph Beuys emerge in the contemporary portraits.
After leaving East Germany for West Germany in 1962, Gerhard Richter studied and taught at the Dusseldorf University, where Joseph Beuys was a professor. Joseph Beuys, with his glass-vitrin installation work, Auschwitz- Demonstration (1956-64), incorporates the artistic responsibilities after Auschwitz into contemporary art and Richter responds to this with his grisaille family portrait paintings. Jörg Immendorf and Anselm Kiefer, contemporary artists as well as Joseph Beuys’ students, visualize the obligations of artists after Auschwitz with their narrative paintings. The family portrait series by Gerhard Richter and Deutschland series by Jörg Immendorf as well as Margarethe and Sulamith series by Anselm Kiefer declared the return of figurative painting in the cold war era. All these series visualized the brutality of the Nazis and the unrepaired past in a dark and crude tone and put the responsibilities of artists on the list of artistic themes.
Gerhard Richter’s family portrait series contain Onkel Rudi(Uncle Rudi) (1965), Tante Marianne(Aunt Marianne) (1965), and Horst mit Hund(Horst with a Dog) (1965). These works, despite their different dimensions, represent his uncle Rudi who was a Nazi solider, his aunt who was a victim of ethnic chauvinism, and his father, who participated in the war as a Nazi soldier and thereby look into both his family history and the Nazi period. Onkel Rudi which is in the collection of Lidice of Czech depicts the figure in the photo and is considered a symbol of reconciliation between the countries which committed atrocities and the countries subject to brutalities while Horst mit Hund, the portrait of the artist’s father focuses on the conflict between the father’s generation who took part in World War II as soldiers and their children’s generation. Tante Marianne is regarded as a piece that epitomizes the German victims of ethnic chauvinism in the Nazi days. Although his gray paintings have been subject to a variety of interpretations, some of which issues a warning to the international community against forgetting the past, the transition from the artist’s personal domain to the public one shall be found in his responsibilities and pictorial strategy.
This paper will explore the layers of meaning hidden in Richter’s family portraits through a comparative analysis of the portraits and the black-and-white photos found in his family album. Such art-historic comparative analysis encompasses the dialectics of Richter, who refuses and disregards the artistic beauty and the epistemological methodology that interprets the grisaille portraits by Richter, who counters the substance and meaning of traditional portraits. Such liberal arts methodology, rather than proposing new hermeneutic methods, focuses on an in-depth analysis of Richter’s family portrait series.
It is challenging to identify comparative texts for Gerhard Richter’s family portraits series (1965) regarding the responsibilities of artists, and it is imperative to specify an aesthetic category to address this.

참고문헌 (Reference)

• 1 김승호, "아우슈비츠 이후 예술가의 책무 : 안젤름 키퍼의 "(마가레테- 술라미트-시리즈)"를 중심으로" 예술과미디어학회 18 (18): 79-104, 2019
• 2 Adorno, Theodor W, "Ästhetische Theorie, suhrkamp taschenbuch wissenschaft" 2003
• 3 "Západonemecká a Západoberlinská Avantgarda Lidicum, Westdeutsch Westberliner Avantgarde für Lidice"
• 4 Gerhard Richter, "Text 1961 bis 2007. Schriften, Interviews, Briefe, Verlag der Buchhandlung Walter König"
• 5 "TagesWoche, Basel, 2019. 3. 25"
• 6 Osnarbrücker Zeitung, "Osnarbrück"
• 7 Adorno, Theodor W., "Negative Dialektik, Jargon der Eigentlichkeit, surhkamp taschenbuch wissenschaft" 2015
• 8 Flacke, Monika, "Mythen der Nationen. 1945-Arnea der Erinnerungen" Philipp von Zabern Verlag 2004
• 9 Martin, Lothar, "Mit Kunstwerken und Gesang: Gedenken an das Massaker von Lidice"
• 10 Seung-Ho, Kim, "Malerei als bildernischer Dialog. Das Werk Anselm Kiefers in der Gegenwartskunst" Waxmann 2011
• 11 Günther, Hans-Christian, "Kunst im zwanzigsten Jahrhundert, zwischen privatem und offentlichem Raum, Bd. 13" Verlag Traugott Bautz 2018
• 12 Koepplin, Dieter, "Jörg Immendorff Cafè Deutschland, Katalog: Ausstellung im Kunstmuseum Basel"
• 13 Lamping, Dieter, "Judischer Diskurs in der deutschen Literatur des 20. Jahrhunderts" Vandenhoeck & Ruprecht 1998
• 14 Adriani, Götz, "Joseph Beuys" DuMont 1994
• 15 Peter Riegel, Hans, "Immendorff- Hans Peter Riegel: Jörg Immendorff. Die Biografie" Aufbau Verlag 2010
• 16 Faulstich, Heinz, "Hungersterben in der Psychiatrie 1914-1949. Mit einer Topographie der NS-Psychiatrie" Lambertus-Verlag 1998
• 17 Buchloh, Benjamin H. D., "Gerhard Richters Birkenau-Bilder" erlag der Buchhandlung Walter König 2016
• 18 Schneede, Uwe W., "Gerhard Richter: Bilder einer Epoche. Ausstellungskatalog" Hirmer Verlag 2011
• 19 Elger, Dietmar, "Gerhard Richter, Maler" DuMont 2002
• 20 Jenni-Preihs, Monnika, "Gerhard Richter und die Geschichte Deutschlands" LIT Verlag 2013
• 21 Elger, Dietmar, "Gerhard Richter in der Dresdner Galerie" Lampertswalde 2010
• 22 ZADIK, "Ganz am Anfang/ How it all began: Richter, Polke, Lueg & Kuttner" Verlag für moderne Kunst 2004
• 23 Germer, Stefan, "Famlienschluss zur Thematisierung des Privaten in neueren Bildern Gerhard Richters" 7 (7): 1997
• 24 Schreiber, Jürgen, "Ein Maler aus Deutschland" Pendo Verlag GmbH 2012
• 25 Arbeitsgemeinschaft 28 Düsseldorfer Galerien, "Düsseldorfer Avantgarden. Persönlichkeiten, Bewegungen, Orte" Richter Verlag 1995
• 26 Mitscherlich, Margarete, "Die Unfähigkeit zu trauern" Taschenbuch 1967
• 27 Gillen, Eckhart, "Deutschlandsbilder: Kunst aus einem geteilten Land" DuMont 1997
• 28 Dtsch Arzrebl, "Deutscher Arzteverlag GmbH: Berlin, 2006, 103(28-29): A-1982 /B-1703 / C-1647"
• 29 "Der Tagesspiegel, Berlin, 2017. 09. 04"
• 30 "Der Tagesspiegel, Berlin, 2004. 08. 23"
• 31 "Der Tagesspiegel, Berlin, 2004. 08. 04"
• 32 "Der Spiegel, 33/ 2005"
• 33 Jörg Immendorff, "Bild mit Geduld. Ausst.-Kat. Kunstmuseum Wolfsburg"
• 34 "Berliner Zeitung"
• 35 "Archiv des Staatlischen Museums Auschwitz-Brikenau, Owicim. Berliner Tatort"