Background
Hans Richter was born on April 6, 1888, in Berlin into a prosperous Jewish family. He was one of six children of Moritz Richter and Ida Gabriele Rothschild. His mother was an accomplished harpist and pianist.
Berlin, Germany
Hans Richter studied at The Academy of Arts in 1908.
Paris, France
Hans Richter studied at The Academie Julien.
New York, United States
From 1942 to 1956 Richter taught and served as director at the Institute of Film Techniques at the City College of New York.
Berlin, Germany
Hans Richter studied at The Academy of Arts in 1908.
Paris, France
Hans Richter studied at The Academie Julien.
New York, United States
From 1942 to 1956 Richter taught and served as director at the Institute of Film Techniques at the City College of New York.
Fernand Léger working at his Parisian studio. Photo by Reitz/ullstein bild.
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1978
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Hans Richter was born on April 6, 1888, in Berlin into a prosperous Jewish family. He was one of six children of Moritz Richter and Ida Gabriele Rothschild. His mother was an accomplished harpist and pianist.
Hans Richter studied at Falk Real Gymnasium in Berlin between 1894-1906. He attended Berlin Academy of Art in 1908, the Academy of Art in Weimar in 1909, and the Academie Julian in Paris. As part of his training, Richter copied Old Master paintings by Velazquez, Tintoretto, and Rubens, as well as the works of more recent German artists of the nineteenth century, including, Wilhelm Leibl and Franz von Lenbach.
Richter’s early commitment to the arts was interrupted by service in the German army between 1914 and 1916, at which point he was wounded on the Russian front and given his discharge. Moving to Zurich, neutral capital and international haven for pacifists and war resisters, Richter encountered the Dadaists in 1916. Although his participation in the movement was limited, he did contribute to their journal, Dada, and occasionally participated in their events.
Richter's early Zurich style betrays strong roots in Expressionism, especially that of Wassily Kandinsky, as well as the influence of Hans Arp who, like Richter, resided in Zurich at the time. By 1918 this tendency began to give way to a more abstract style in which any traces of naturalism were almost completely suppressed. It was in 1916, while living in Zurich, that Richter received his first one man show at the Galerie Hans Goltz in Munich. Exhibitions of his work in Zurich included two group shows, Dada and Die Neue Kunst: Dada, in 1917 and 1918 at the Galerie Corray and the Salon Wolfsburg.
In 1918 Richter was introduced to Viking Eggeling, also a Dada sympathizer, with whom he worked closely for the next seven years in the formulation of an abstract cinema. Although no films were actually made in Zurich, studies, often in the form of scrolls, were arranged contrapuntally. In their succession of images they suggested strong sources in and close analogies to music. In 1918 Richter returned to Berlin, where Dada had preceded him by one year. In Kleinkolzig, near Berlin, he and Eggeling further pursued their work in the cinema.
By the early 1920s Richter had produced his now-famous Rhythm 21, closely followed in time by Rhythm 23 and Rhythm 25. Although loosely affiliated with the Berlin Dada group, his interests were quickly moving in the direction of International Constructivism, as were those of Raoul Hausmann and other members of the Berlin Dada group. Nevertheless, Richter clearly perceived Dada as an important part of his young career and in Dada: Art and Anti-Art (1965) provided the movement with one of its most complete and reliable memoirs.
Richter's new sympathies were clear from his substantial contributions to the Dutch journal De Stijl. Edited by Piet Mondrian and Theo van Doesburg, it became the publication organ of what was Western Europe's most systematic movement in the non-objective arts. These activities, spanning a period from 1921 to 1927, were paralleled by Richter's own publication, "G" (Gestaltung), in Berlin. For Richter, the Dada/Surrealist side of his nature was never in conflict with the Constructivist side. Thus in 1927 he worked on a film, never completed, with the Russian Suprematist Kasimir Malevich at the same time that he collaborated with the Surrealists on the film Ghosts After Breakfast. The latter was as full of typically irrational juxtapositions as the former was informed by rigor and discipline.
The 1920s and early 1930s were a time of intense activity for Richter's filmmaking. Following a short stay in Russia he returned to Switzerland in 1933 and began reinvestigating some of his earlier pictorial concerns. That same year his Berlin studio was raided by the Nazis and much of his work was destroyed. Richter's return to earlier concerns was partially reflected in his inclusion in 1937 in the exhibition Konstruktivistern in Kunsthalle, Basle.
In 1941 Richter emigrated to the United States. He was naturalized ten years later. Upon his arrival in America he joined the American Abstract Artists group and was exhibited in Maitres de l'Art Abstrait at the Helena Rubenstein Gallery in New York. From 1942 to 1956 Richter taught and served as director at the Institute of Film Techniques at the City College of New York. Richter's second one-man show was held in New York in 1946 at the Art of This Century Gallery, an organization founded by Peggy Guggenheim and of which Richter became president in 1948. One of his best works, Dreams That Money Can Buy (1946 to 1948), was made during these years in collaboration with Marcel Duchamp, Max Ernst, Fernand Leger, Man Ray, and Alexander Calder.
After a varied and important career, Richter died in Locarno, Switzerland, on February 1, 1976.
Hans Richter's extraordinary artistic career pioneered and established film as an art form. His vision and experiments in mixed media and collaborative artistry blended painting, music, film, and art. His work as an artist and theoretician influenced practically all of the seminal movements of twentieth century avant-garde art, including Dada, Suprematism, Constructivism, and Surrealism.
Richter was much esteemed as one of the important founders of Concrete Art. He received numerous prizes for his contribution for art.
A major posthumous retrospective exhibition was held at the Akademie der Künst, Berlin (1982). His work may be found in the collections of The National Gallery, Berlin; Museum 20 Jahrhunderts, Vienna; Galeria Nazionale d'Arte Moderna, Rome; Musée National d'Arte Moderne, Paris; and The Museum of Modern Art, New York, among many others.
Sketch for Labyrinth - no. 301
1970Colorful City with Zeppelin
1916Untitled
Pro Contra Variation
1973Cohesion VII
1967Untitled - no. 817B
Autumn
1917Variation sur le theme des pro contres (no. 89)
1960Dada Head Variation - no. 507
1970Abstract composition
Gesture Series - no. 209
Sur une jambe
Plakatentwurf
Ni main ni pied - no. 396
1955Untitled
Labyrinth
1948Composizione
Portrait of Dora Rukser
1927Self Portrait
Untitled
Portrait de Lou Märten
1915Testa 2
Dymo Sketch II
Dada Head
1974Quotations: "The life we led, our follies and our deeds of heroism, our provocations, however 'polemical' and aggressive they may have been, were all part of a tireless quest for an anti-art, a new way of thinking, feeling and knowing."
Hans Richter was a member of the American Abstract Artists.
During the First World War Richter met and married Elisabeth Steinert, the nurse of military hospital. They divorced in 1921 and Richter married Maria von Vanselow, a member of Rudolf von Laban's modern dance troupe. It was a short-lived union. After Eggeling's death in 1925, Richter married Eggeling's collaborator and companion, Erna Niemayer. Their marriage also ended in divorce. Erna and Richter split and she went on to marry the Surrealist poet Philippe Soupault. In 1951 he married Frida Ruppel.
She instilled a lifelong love of music in her son.
