By intermingling elements of traditional painting and new pictorial material, Richter's work leads to a more open notion of the “image” (monograph).
This volume devoted to Gerhard Richter reconsiders the relations between photography and painting and discusses the historical, social, and political elements brought into certain works. Richter's oeuvre is clearly linked to certain traditional categories of painting, but the image as he defines it most often eludes those categories. It is this new definition that must be analyzed.
