Florian Richter

Artista, MIA Fair 2023 @ Prince House Gallery

Florian Richter, Esja Iceland, 2020

Courtesy: Florian Richter, Prince House Gallery

Chrome Pigment Druck auf Büttenpapier montiert auf Alu-Dibond, gerahmt, Erle gewachst, UV 45 Mirogard Glas
Chrome Pigment Druck auf Büttenpapier montiert auf Alu-Dibond, gerahmt, Erle gewachst, UV 45 Mirogard Glas
Dimensioni / Size: each 62,2 x 49,5 cm
Edizione / Edition: 8

Contattare Prince House Gallery per il prezzo.
Please contact Prince House Gallery for the price.

Germania @ Germany
https://www.princehouse.de/florian-richter

"Painting or photography?"

Florian Richter actually always wanted to be a painter, but ultimately decided on photography. He completed his training in 1992 at the Lette Verein in Berlin and initially worked as an assistant to various photographers until he started his own business. He has always found his personal means of expression in art photography. His photographs are not images of reality, but rather reflect romantic thoughts. This connects the romantic Florian Richter with artists like Caspar David Friedrich, Aiwazowsky or Hans Thoma, by whose work Richter was inspired. And what is it now - painting or photography? The detailed precision of the motif points to photography. Atmospheric blurring, fogging, and that film that seems to cover Richter's images, however, point to painting.

The production process of the works is unconventional and plays a central role in Richter's oeuvre: the artist takes analog photographs and only in the studio are the images exposed on negative film or Polaroids processed and printed. Thus, it is not the landscape itself that is depicted, but the idea that the artist has of the landscape. In this way, the artist also alludes to the question of the truthfulness of photographs: What is reality? The landscape itself or our idea of it?

Although man himself is not taken up as a motif in his photographs, he does appear in them: The reflection on landscape and our relationship to nature is reflected in the works of Florian Richter.

He also allows dark colors, because romanticism also includes melancholy and the admission of heavy feelings, such as sadness or melancholy. Thus, the artist dares to reflect on feelings that most people would prefer to conceal. The vastness of the human emotional world finds expression in Richter's landscapes.

The seascape becomes a landscape of the soul. Richter thus follows in the footsteps of Romantic artists, not only in terms of motif, but also ideally.

"Painting or photography?"
Florian Richter actually always wanted to be a painter, but ultimately decided on photography. He completed his training in 1992 at the Lette Verein in Berlin and initially worked as an assistant to various photographers until he started his own business. He has always found his personal means of expression in art photography. His photographs are not images of reality, but rather reflect romantic thoughts. This connects the romantic Florian Richter with artists like Caspar David Friedrich, Aiwazowsky or Hans Thoma, by whose work Richter was inspired. And what is it now - painting or photography? The detailed precision of the motif points to photography. Atmospheric blurring, fogging, and that film that seems to cover Richter's images, however, point to painting.
The production process of the works is unconventional and plays a central role in Richter's oeuvre: the artist takes analog photographs and only in the studio are the images exposed on negative film or Polaroids processed and printed. Thus, it is not the landscape itself that is depicted, but the idea that the artist has of the landscape. In this way, the artist also alludes to the question of the truthfulness of photographs: What is reality? The landscape itself or our idea of it?
Although man himself is not taken up as a motif in his photographs, he does appear in them: The reflection on landscape and our relationship to nature is reflected in the works of Florian Richter.
He also allows dark colors, because romanticism also includes melancholy and the admission of heavy feelings, such as sadness or melancholy. Thus, the artist dares to reflect on feelings that most people would prefer to conceal. The vastness of the human emotional world finds expression in Richter's landscapes.
The seascape becomes a landscape of the soul. Richter thus follows in the footsteps of Romantic artists, not only in terms of motif, but also ideally.

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Florian Richter, Esja Iceland, 2020