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Caspar David Friedrich, Der Watzmann, 1824/1825. Oil on canvas, 135 x 170 cm. Inv. No. F.V. 317. Alte Nationalgalerie | Staatlichen Museen zu Berlin -Preußischer Kulturbesitz. Photo: Andres Kilger. CC BY-NC-SA.
Source publication
What does the observation of people walking have to do with interpreting paintings or other artworks, past or present? Can an old painting be ‘activated’ or invite the viewer to participate and experience it more actively? In this paper, I discuss some examples in which my own art research practice has found in bodily movements unexpected sources a...
Context in source publication
Context 1
... when Caspar David Friedrich entered the art scene in Dresden at the turn of the nineteenth century and started developing his own style, his attempts at disrupting the traditional way of perceiving landscape painting ended up in controversy. And this was still the case by the time he finished his own rendition of Der Watzmann around 1824/25 (Fig. 2), 15 which appeared soon after Richter's. The two depictions of the same Bavarian mountain had only a few things in common: they were not conceived on location but through second-hand depictions, which resulted in different imagined foregrounds. 16 But for viewers of the time, who were more familiar with the usual secure position for ...
