Jason Farago at the NYT:
The blur is as close as Mr. Richter has ever come to a stylistic signature, and it recurs here in seascapes, landscapes, and street scenes; portraits of his daughter Betty, her head resting on a table like meat on the butcher block, or his ex-wife, the artist Isa Genzken, nude and from behind; and smaller canvases of Sabine Moritz, his current wife, nursing their newborn in the manner of a Madonna and Child.
Hard not to see the influence of Renaissance Italy in these landscapes, portraits and quasi-religious scenes. Hard not to feel, too, their aloofness and sterility. Always, the blur serves as the mark of faith and doubt in painting.