Luisa Richter

[2] During this period, she started working on illustrations for the magazines Stuttgarter Leben and Die Welt der Frau, and the editorials Egon Schuler and Bechtle Verlag, after this, she moved away and lived in between Paris and Rome.

With this in mind Ricardo Pau-Llosa pointed out “Richter took the refined visual lexicon of Informalism and directed it toward other ends; Transformed it into the instrument with which to reflect on one of the most complex acts of consciousness-thinking visually-“.

In 1978 she represents Venezuela at the XXXVIII Bienal de Venecia, where she showed 12 monumental oil paintings, her series “Espacios Planos”, and 60 different collages and texts related to art and existentialism.

At first, under the influence of her tutor Willi Baumeister, she carried out abstraction in which she was ahead compared to others and even to her own "informality stage" of 1959, in works characterized by the use of lumpy textures and atmospheric suggestion; the subject of cuts and division of the Venezuelan land.

After 1963, and through graphic means, she tried to express in her art a different type of symbols with the use of impulsive strokes and lines the period of his first collages, and paintings that would lead later, from 1966 to 1969 to an intermezzo of figurative, and from then until 1977, are occasionally created portraits that she treated as rehearsals or “tryouts”.

Her search proves the legitimacy of what was already implicit at her informal age: the apprehension of an internalized climate in her work with a blind and elemental force, where the forms begin to define themselves in an expectant world that emerges from the hollow and refuses to be something other than paint.

After establishing a long career in South American lands, Richter died at the age 87, leaving one of the biggest contributions she could ever do to a country that has, not only welcomed, but produced important classical and contemporary artists alike.