This essay by the German poet and art critic Kurt Leonhard (1910–2005) was the introduction to the only monograph ever published about Luisa Richter (1928?2015), the German-born Venezuelan visual artist. Leonhard mentions that he and Richter are compatriots, and uses that connection (plus his own experience) to assess how Richter’s work was affected by the bright, tropical Venezuelan light, so different from the light in her native Germany. The local climate and the architecture of her house in Caracas generate plays of light that are reflected in her paintings, where there is an uncommonly dominant use of the color white; not as an anti-color, however, but as the sum of all colors. Leonhard finds that “emotion,” rather than reason, is what drives Richter to create works inspired by memories, experiences, and desires, as seen from a spiritual-sensory perspective. He describes Richter as a major influence on postwar non-Figurative German painting, explaining that, ever since her early training in Stuttgart, her work has evolved in completely unexpected directions. The author points out that Richter’s work comes in a variety of subjects, techniques, and forms that create a consistent whole with a common goal.