from Bloomberg:

June 11 (Bloomberg) -- Sigmar Polke, one of Germany’s best-known artists, died last night from cancer at the age of 69, his dealer Erhard Klein said in a phone interview.

Polke, a painter, graphic artist and photographer, was “one of the most important and most successful representatives of German contemporary art,” Culture Minister Bernd Neumann said in a statement. “He was a critical, ironic and self-ironic observer of postwar history and its artistic commentators.”

Born in 1941 in eastern Germany, Polke emigrated to the west in 1953. He settled in Dusseldorf, where he studied at the Art Academy. In 1963, he founded the “Capitalist Realism” painting movement with Gerhard Richter and Konrad Lueg. The three artists mocked both the realist style that was the official art of the Soviet Union and the consumer-driven pop art of the west. Polke moved to Cologne in 1978.

He experimented with a wide range of styles, subject matter and materials. In the 1970s, he concentrated on photography, returning to paint in the 1980s, when he produced abstract works created by chance through chemical reactions between paint and other products. In the last 20 years, he produced paintings focused on historical events and perceptions of them.

from Roberta Smith in the New York Times:

Sigmar Polke, an artist of infinite, often ravishing pictorial jest, whose sarcastic and vibrant layering of found images and maverick, chaos-provoking painting processes left an indelible mark on the last four decades of contemporary painting, died yesterday in Cologne, Germany. He was 69; the cause was complications of cancer, according to Gordon Veneklasen, a partner at the Michael Werner Gallery New York, the artist’s chief American representative.

Mr. Polke, who was born in Oels in the Silesian region of eastern Germany in 1941, also made prints and sculpture, and in his youth dabbled memorably in Conceptual Art and installation art. His peregrinations in and around the mediums of drawing and photography nearly amount to second and third careers. But his main achievement was to start building on American Pop Art earlier and more astutely than any other painter of his generation. Mainly, he expanded upon Pop Art’s use of images from popular culture, and further complicated it by adding abstraction and an emphasis on painterly process.