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Books > Arts & Architecture > Photography & photographs > Special kinds of photography > Cinematography, television camerawork
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On Gerhard Richter's Blur Effect. The Ambivalent Character of a Distanced Force (Paperback)
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On Gerhard Richter's Blur Effect. The Ambivalent Character of a Distanced Force (Paperback)
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Bachelor Thesis from the year 2013 in the subject Art - Photography
and Film, grade: 78 % = 1, University of Westminster (Department of
Media, Arts and Design), course: Photography Dissertation,
language: English, abstract: "The strongest of Richter's effects of
withdrawing the work from the viewer's gaze, is the creation of a
softening blur as the final touch to all his Photo Paintings.
Making the paintings, the artist firstly drafts his subject with a
normally sized brush to create a "sharp" image (Fig.3). Having
finished, he would come with a broader brush or a squeegee and blur
the still wet oil paint (Fig. 4) to create the photographic effect
of an out-of-focus image1. The blur in these paintings is not a
trace of movement of the object in the photograph. This blur is an
addition to the painting that does not relate to a form of haziness
in the specific photographic source image, but to the general idea
of vagueness, indecisiveness, anti-definition. Therefore, it
mirrors the artist's attitudes towards life in an especially
expressive way. The enlargement of the usual distance between what
is depicted and the viewer are the basis of this effect. At first
on a quite literal level: Richter introduces another layer of
depiction in these paintings by creating the depiction of a
depiction of an object. This places the object of the painting
further away than usual from its maker and us as viewers (Butin,
2010). Secondly, on the level of reception: an image that stays
"out-of-focus" from whichever distance we look at it rejects us,
and refuses to communicate. This typical caginess of Richter's
paintings, the exclusion of the recipient whom they are made for,
is a striking effect in the encounter with these images. The
analysis of the antithetic emotional effects of this simple but
fascinating painterly technique is the theme of this essay."
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