Cage f.ff IV
Cage f.ff IV
Signed Print
Gerhard Richter
Price data unavailable
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Lithograph
Edition size: 30
Year: 2011
Size: H 90cm x W 90cm
Signed: Yes
Format: Signed Print
TradingFloor
Track this artwork in realtime
Watch artwork, manage valuations, track your portfolio and return against your collection.
Track auction value trend
Auction Results
| Auction Date | Auction House | Artwork | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| November 2015 | Van Ham Fine Art Auctions - Germany | Cage f.ff IV - Signed Print |
Meaning & Analysis
Created by world-leading German visual artist Gerhard Richter, Cage f.ff IV is one of a number of prints concerned with details from the artist’s six-part 2006 painting series, Cage [CR: 897/1-6]. Issued in 2011, the colour offset lithograph print is signed by the artist and part of the Cage f.ff series.
Together with Cage f.ff I, Cage f.ff II, Cage f.ff III, and Cage f.ff V, Cage f.ff IV is a visual testament to Richter’s self-avowed desire to bring about what he has described as the ‘death of painting’. Like its series namesakes, the work speaks to the artist’s inspiration by US composer and avant-gardist, John Cage; demanding what curator and critic Hans Ulrich Obrist describes as an ‘infinite process of looking’, the image refers to an original work created during a period when Richter had been spending hours listening to Cage’s music, famed for its atonality and meditative qualities. Comprising grey, white, blue, and red tones, there is a sense of viscerality and violence in this work that immediately suggests Cage’s influence.
At first sight, Richter’s strict artistic training in socialist realist art, which he received whilst a student at the Dresden Academy, is far removed from this image. Eschewing the representational in favour of the non-representational, however, with this work Richter is sure to index his unorthodox artistic background - and his lifelong revolt against it.
