work group in his oeuvre. According to Dietmar Elger, Richter's landscapes are understood within the context of traditional of German Romantic Painting. They are compared to the work of Caspar David Friedrich (1774–1840). Friedrich is foundational to German landscape painting. Each artist spent formative years of their lives in Dresden. Große Teyde-Landschaft (1971) takes its imagery from similar holiday snapshots of the volcanic regions of Tenerife. Atlas was first exhibited in 1972 at the Museum voor Hedendaagse Kunst in Utrecht under the title Atlas der Fotos und Skizzen, it included 315 parts. The work has continued to expand, and was exhibited later in full form at the Lenbachhaus in Munich in 1989, the Museum Ludwig in Cologne in 1990, and at Dia Art Foundation in New York in 1995. Atlas continues as an ongoing, encyclopedic work composed of approximately 4,000 photographs, reproductions or cut-out details of photographs and illustrations, grouped together on approximately 600 separate panels. In 1972, Richter embarked on a ten-day trip to Greenland, his friend Hanne Darboven was meant to accompany him, but instead he traveled alone. His intention was to experience and record the desolate arctic landscape. In 1976, four large paintings, each titled Seascape emerged from the Greenland photographs. In 1982 and 1983, Richter made a series of paintings of Candles and Skulls that relate to a longstanding tradition of still life memento mori painting. Each composition is most commonly based on a photograph taken by Richter in his own studio. Influenced by old master vanitas painters such as Georges de La Tour and Francisco de Zurbarán, the artist began to experiment with arrangements of candles and skulls placed in varying degrees of natural light, sitting atop otherwise barren tables. The Candle paintings coincided with his first large-scale abstract paintings, and represent the complete antithesis to those vast, colorful and playfully meaningless works. Richter has made only 27 of these still lifes. In 1995, the artist marked the 50th anniversary of the allied bombings of his hometown Dresden during the Second World War. His solitary candle was reproduced on a monumental scale and placed overlooking the River Elbe as a symbol of rejuvenation. In a 1988 series of 15 ambiguous photo paintings entitled 18 October 1977, he depicted four members of the Red Army Faction (RAF), a German left-wing militant organization. These paintings were created from black-and-white newspaper and police photos. Three RAF members were