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Landscape of Caspar David Friedrich and Gerhard Richter
PROCHÁZKOVÁ, Adéla
The aim of the work is a comparison of the landscape painting by Caspar David Friedrich and Gerhard Richter. Both painters are viewed individually, as well as through the lens of their mutual inspiration. The mainworks under review are the six landscape paintings, which are at first interpreted individually and later collectively. Reception Aesthetics was chosen as the methodological framework. In the initial analysis, emphasis is placed on the empty/open spaces in the paintings as an entry for a viewer. The artistic contributions by both artists are taken into account, including their work with Nature, the landscape and their search for beauty and knowledge.The term 'romantic' is significant in this thesis and must be confronted within the traditional as well as modern concepts. The aesthetic category of sublime is linked to the traditional concept, which was transformed into a visual experience by means of Gerhard Richter's modern conception. Both of the painting's criteria correspond to the question of the viewers'expectation/discovery/recognition of the seen. Richter works on the topic of recognition with the aid of the artistic technique of photo painting, which ranks as a philosophical interpretation. As well as comparing the landscape paintings, the painter's artistic approaches to the meaning of the paintings are also contrasted. Friedrich's landscape painting elements should be regarded as hieroglyphs, while Richter allows the viewer to add meaning to the painting. In conclusion,the work compares the landscape paintings based on the reception by audiences of the 19th and 20th centuries. Interpretation is hampered by the presence of emotions in the viewing process, a fact which this work also briefly takes into account. The visualisation of landscape in the conception of C. D. Friedrich, which is also reflected in the work of G.Richter, is similarly manifested through other contemporary works, such as documentaries, photographs, video games, specific examples of which are briefly described in the last subchapter. The entire work traces the author's initial response in her interest in Richter's landscape painting in the context of her previously acquired visual and theoretical experience of the landscape painting by C. D. Friedrich.
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