Gerhard Richter is a German artist known for his diverse and prolific body of work that includes painting, sculpture, and photography. One of his most famous works is a series of 48 portraits created in 1971. The series, which was first exhibited at the Venice Biennale in 1972, consists of large, painted portraits of famous figures from various fields, including politics, art, and literature.

Richter used photographs as the basis for each portrait, which he then transferred onto canvas using a grid system. He worked in a photorealistic style, creating highly detailed, lifelike representations of each subject. However, he also intentionally blurred and obscured certain areas of the portraits to create a sense of ambiguity and uncertainty.

The portraits were initially created for an East German government building, but the project was abandoned, and the paintings were eventually sold to a private collector. The series was not widely seen until its exhibition at the Venice Biennale in 1972, which helped to establish Richter's international reputation as an artist.

The 48 portraits are notable for their diversity of subjects, which include political figures like Mao Zedong and Joseph Goebbels, artists like Pablo Picasso and Marcel Duchamp, and writers like Franz Kafka and Samuel Beckett. The series reflects Richter's interest in exploring the role of art in society and the relationship between individual identity and larger historical forces.

The 48 portraits have been exhibited in various venues over the years and remain an important part of Richter's oeuvre. Their combination of photorealism and abstraction, as well as their exploration of the relationship between representation and reality, continue to captivate and inspire viewers.

Gerhard Richter's selection of the 48 portraits for his 1971 series is not entirely clear, as the artist has not provided a specific explanation for his choices. However, art historians and critics have suggested several possible reasons for the selection.

One reason may be Richter's interest in exploring the role of art in society and the relationship between individual identity and larger historical forces. The subjects of the portraits include political figures like Mao Zedong and Joseph Goebbels, as well as artists and writers who were influential in shaping cultural movements. By depicting these figures in a photorealistic style, Richter may have been commenting on the power of representation and the ways in which images can shape our understanding of history and identity.

Another possible reason for the selection of the 48 portraits is Richter's interest in photography and its relationship to painting. Richter used photographs as the basis for each portrait, which he then transferred onto canvas using a grid system. By choosing subjects who were often depicted in photographs, Richter may have been exploring the tension between the two mediums and the ways in which photography has impacted our understanding of visual representation.

Finally, Richter may have chosen the subjects simply because he found them interesting or intriguing. The 48 portraits include a diverse range of figures from various fields, suggesting that Richter was not necessarily trying to make a political or ideological statement with his selection.

Overall, while the specific reasons for Richter's selection of the 48 portraits remain somewhat unclear, the series is widely regarded as an important and influential work in the history of contemporary art.