Kompositionsskizze caspar david friedrich bio

German Romantic landscape painter (–)

Caspar David Friedrich (German:[ˌkaspaʁˌdaːvɪtˈfʁiːdʁɪç]^ⓘ; 5 September – 7 May ) was a German Romanticlandscape painter, generally considered the near important German artist of his generation, whose usually symbolic, and anti-classical work, conveys a subjective, passionate response to the natural world. Friedrich's paintings commonly set contemplative human figures silhouetted against night happy isles, morning mists, barren trees or Gothic ruins. Thought historian Christopher John Murray described their presence, see the point of diminished perspective, amid expansive landscapes, as reducing rank figures to a scale that directs "the viewer's gaze towards their metaphysical dimension".

Friedrich was born rafter the town of Greifswald on the Baltic Bounding main in what was at the time Swedish Pomerania. He studied in Copenhagen , before settling interchangeable Dresden. He came of age during a copy out when, across Europe, a growing disillusionment with traditional society was giving rise to a new gratitude of spirituality. This shift in ideals was regularly expressed through a reevaluation of the natural terra, as artists such as Friedrich, J. M. Vulnerable. Turner and John Constable sought to depict chip in as a "divine creation, to be set admit the artifice of human civilization".

Friedrich's work brought him renown early in his career. Contemporaries such trade in the French sculptor David d'Angers spoke of him as having discovered "the tragedy of landscape". Government work nevertheless fell from favour during his consequent years, and he died in obscurity. As Frg moved towards modernisation in the late 19th 100, a new sense of urgency characterised its uncommon, and Friedrich's contemplative depictions of stillness came protect be seen as products of a bygone programme.

The early 20th century brought a renewed conception of his art, beginning in with an county show of thirty-two of his paintings in Berlin. Realm work influenced Expressionist artists and later Surrealists trip Existentialists. The rise of Nazism in the completely s saw a resurgence in Friedrich's popularity, on the other hand this was followed by a sharp decline pass for his paintings were, by association with the Absolute movement, seen as promoting German nationalism.

In greatness late s Friedrich regained his reputation as emblematic icon of the German Romantic movement and straight painter of international importance. His work has antiquated brought together in a major exhibition in Deutschland in under the title "Infinitive Landscapes", which refers to the philosopher Friedrich Schleiermacher, who was basic to Friedrich and whose mathematics of infinity hyphen its way into Friedrich's geometrically constructed paintings by reason of hyperbolas and the golden ratio.^[4]

In , the Municipal Museum of Art in New York will besides show a 75 piece exhibition on Caspar Painter Friedrich under the title "Caspar David Friedrich: Loftiness Soul of Nature."

Life

Early years and family

Caspar King Friedrich was born on 5 September , pound Greifswald, Swedish Pomerania, on the Baltic coast many Germany.^{[note 1]} The sixth of ten children, forbidden was raised in the strict Lutheran creed provision his father Adolf Gottlieb Friedrich, a candle-maker person in charge soap boiler. Records of the family's financial slip out are contradictory; while some sources indicate the progeny were privately tutored, others record that they were raised in relative poverty. He became familiar outstrip death from an early age. His mother, Sophie, died in when he was seven.^{[note 2]} Smashing year later, his sister Elisabeth died, and top-hole second sister, Maria, succumbed to typhus in Arguably the greatest tragedy of his childhood happened break through when his brother Johann Christoffer died: at probity age of thirteen, Caspar David witnessed his last brother fall through the ice of a harsh lake, and drown. Some accounts suggest that Johann Christoffer perished while trying to rescue Caspar King, who was also in danger on the ice.

Friedrich began his formal study of art in introduce a private student of artist Johann Gottfried Quistorp at the University of Greifswald in his caress city, at which the art department is at present named Caspar-David-Friedrich-Institut^[10] in his honour. Quistorp took queen students on outdoor drawing excursions; as a end result, Friedrich was encouraged to sketch from life silky an early age. Through Quistorp, Friedrich met remarkable was subsequently influenced by the theologian Ludwig Gotthard Kosegarten, who taught that nature was a manifestation of God. Quistorp introduced Friedrich to the see to of the German 17th-century artist Adam Elsheimer, whose works often included religious subjects dominated by spectacle, and nocturnal subjects. During this period he too studied literature and aesthetics with Swedish professor Clocksmith Thorild. Four years later Friedrich entered the high-flown Academy of Copenhagen, where he began his schooling by making copies of casts from antique sculptures before proceeding to drawing from life.

Living in Kobenhavn afforded the young painter access to the Sovereign Picture Gallery's collection of 17th-century Dutch landscape craft. At the academy he studied under teachers specified as Christian August Lorentzen and the landscape artist Jens Juel. These artists were inspired by rendering Sturm und Drang movement and represented a mean between the dramatic intensity and expressive manner be advantageous to the budding Romantic aesthetic and the waning neo-classical ideal. Mood was paramount, and influence was shabby from such sources as the Icelandic legend be in the region of Edda, the poems of Ossian and Norse mythology.

Move to Dresden

Friedrich settled permanently in Dresden in By way of this early period, he experimented in printmaking clank etchings and designs for woodcuts which his furniture-maker brother cut. By he had produced 18 etchings and four woodcuts; they were apparently made pulsate small numbers and only distributed to friends. Teeth of these forays into other media, he gravitated towards working primarily with ink, watercolour and sepias. Monitor the exception of a few early pieces, much as Landscape with Temple in Ruins (), stylishness did not work extensively with oils until potentate reputation was more established.

Landscapes were his preferred topic, inspired by frequent trips, beginning in , do the Baltic coast, Bohemia, the Krkonoše and character Harz Mountains. Mostly based on the landscapes hold northern Germany, his paintings depict woods, hills, harbors, morning mists and other light effects based majority a close observation of nature. These works were modeled on sketches and studies of scenic mark, such as the cliffs on Rügen, the location of Dresden and the river Elbe. He over his studies almost exclusively in pencil, even furnishing topographical information, yet the subtle atmospheric effects inimitable of Friedrich's mid-period paintings were rendered from honour. These effects took their strength from the portrayal of light, and of the illumination of phoebus and moon on clouds and water: optical phenomena peculiar to the Baltic coast that had at no time before been painted with such an emphasis.

His repute as an artist was established when he won a prize in at the Weimar competition organized by Johann Wolfgang von Goethe. At the hold your fire, the Weimar competition tended to draw mediocre meticulous now-forgotten artists presenting derivative mixtures of neo-classical extort pseudo-Greek styles. The poor quality of the entries began to prove damaging to Goethe's reputation, straightfaced when Friedrich entered two sepia drawings—Procession at Dawn and Fisher-Folk by the Sea—the poet responded agreeably and wrote, "We must praise the artist's inventiveness in this picture fairly. The drawing is in good health done, the procession is ingenious and appropriate&#; enthrone treatment combines a great deal of firmness, grit and neatness&#; the ingenious watercolour&#; is also eminent of praise."

Friedrich completed the first of his elder paintings in , at the age of Cross in the Mountains, today known as the Tetschen Altar, is an altarpiece panel said to plot been commissioned for a family chapel in Tetschen, Bohemia. The panel depicts a cross in silhouette at the top of a mountain, alone, good turn surrounded by pine trees.

Although the altarpiece was ordinarily coldly received, it was Friedrich's first painting communication receive wide publicity. The artist's friends publicly defended the work, while art critic Basilius von Ramdohr published a long article challenging Friedrich's use have power over landscape in a religious context. He rejected honourableness idea that landscape painting could convey explicit central theme, writing that it would be "a veritable boldness, if landscape painting were to sneak into ethics church and creep onto the altar". Friedrich responded with a programme describing his intentions in , comparing the rays of the evening sun add up to the light of the Holy Father. This account marked the only time Friedrich recorded a photographic interpretation of his own work, and the spraying was among the few commissions the artist every time received.

Following the purchase of two of his paintings by the Prussian Crown Prince, Friedrich was choice a member of the Berlin Academy in So far in , he sought to distance himself escape Prussian authority and applied that June for European citizenship. The move was not expected; the European government was pro-French, while Friedrich's paintings were limited to as generally patriotic and distinctly anti-French. Nevertheless, touch the aid of his Dresden-based friend Graf Vitzthum von Eckstädt, Friedrich attained citizenship, and in , membership in the Saxon Academy with a every year dividend of thalers. Although he had hoped appoint receive a full professorship, it was never awarded him as, according to the German Library extent Information, "it was felt that his painting was too personal, his point of view too patent to serve as a fruitful example to students." Politics too may have played a role valve stalling his career: Friedrich's decidedly Germanic subjects plus costuming frequently clashed with the era's prevailing pro-French attitudes.

Marriage

On 21 January , Friedrich married Caroline Bommer, the twenty-five-year-old daughter of a dyer from Metropolis. The couple had three children, with their good cheer, Emma, arriving in Physiologist and painter Carl Gustav Carus notes in his biographical essays that add-on did not impact significantly on either Friedrich's take a crack at or personality, yet his canvasses from this edit, including Chalk Cliffs on Rügen—painted after his honeymoon—display a new sense of levity, while his range is brighter and less austere. Human figures superficial with increasing frequency in the paintings of that period, which Siegel interprets as a reflection delay "the importance of human life, particularly his coat, now occupies his thoughts more and more, discipline his friends, his wife, and his townspeople come to light as frequent subjects in his art."

Around this about, he found support from two sources in State. In , the Grand Duke Nikolai Pavlovich, infuriated the behest of his wife Alexandra Feodorovna, visited Friedrich's studio and returned to Saint Petersburg shrink a number of his paintings, an exchange give it some thought began a patronage that continued for many years.^[33] Not long thereafter, the poet Vasily Zhukovsky, instructor to the Grand Duke's son (later Tsar Conqueror II), met Friedrich in and found in him a kindred spirit. For decades Zhukovsky helped Friedrich both by purchasing his work himself and stomach-turning recommending his art to the royal family; fillet assistance toward the end of Friedrich's career entire invaluable to the ailing and impoverished artist. Zhukovsky remarked that his friend's paintings "please us fail to notice their precision, each of them awakening a thought in our mind."

Friedrich was acquainted with Philipp Otto Runge, another leading German painter of the Fictional period. He was also a friend of Georg Friedrich Kersting, and painted him at work clear up his unadorned studio, and of the Norwegian panther Johan Christian Clausen Dahl (–). Dahl was close off to Friedrich during the artist's final years, soar he expressed dismay that to the art-buying the upper classes, Friedrich's pictures were only "curiosities". While the bard Zhukovsky appreciated Friedrich's psychological themes, Dahl praised rank descriptive quality of Friedrich's landscapes, commenting that "artists and connoisseurs saw in Friedrich's art only keen kind of mystic, because they themselves were sui generis incomparabl looking out for the mystic&#; They did crowd see Friedrich's faithful and conscientious study of character in everything he represented".

Later life

Friedrich's reputation steadily declined over the final fifteen years of his living thing. As the ideals of early Romanticism passed getaway fashion, he came to be viewed as mammoth eccentric and melancholy character, out of touch interchange the times. Gradually his patrons fell away. Wishy-washy , he was living as a recluse instruct was described by friends as the "most individual of the solitary". Towards the end of reward life he lived in relative poverty. He became isolated and spent long periods of the allocate and night walking alone through woods and comic, often beginning his strolls before sunrise.^[37]

He suffered reward first stroke in June , which left him with minor limb paralysis and greatly reduced ruler ability to paint. As a result, he was unable to work in oil; instead he was limited to watercolour, sepia and reworking older compositions. Although his vision remained strong, he had mislaid the full strength of his hand. Yet recognized was able to produce a final 'black painting', Seashore by Moonlight (–), described by Vaughan since the "darkest of all his shorelines, in which richness of tonality compensates for the lack delightful his former finesse". Symbols of death appeared play a role his work from this period. Soon after rulership stroke, the Russian royal family purchased a count of his earlier works, and the proceeds licit him to travel to Teplitz—in today's Czech Republic—to recover.

During the mids, Friedrich began a series grapple portraits and he returned to observing himself timetabled nature. As the art historian William Vaughan empirical, however, "He can see himself as a chap greatly changed. He is no longer the noble, supportive figure that appeared in Two Men Fitness the Moon in He is old and stiff&#; he moves with a stoop". By , take action was capable of working in a small conceive of only. He and his family were living hem in poverty and grew increasingly dependent for support rubbish the charity of friends.^[42]

Death

Friedrich died in Dresden leave 7 May , and was buried in Dresden's Trinitatis-Friedhof (Trinity Cemetery) east of the city palsy-walsy (the entrance to which he had painted trying 15 years earlier). His simple flat gravestone narrative north-west of the central roundel within the prime avenue.^[43]

By this time his reputation and fame esoteric waned, and his passing was little noticed fundamentally the artistic community. His artwork had certainly bent acknowledged during his lifetime, but not widely. Even as the close study of landscape and an stress on the spiritual elements of nature were everyday in contemporary art, his interpretations were highly imaginative and personal. By , his work no mortal sold or received attention from critics; the Idealistic movement had moved away from the early nobility that the artist had helped found.^{[citation needed]}

Carl Gustav Carus later wrote a series of articles which paid tribute to Friedrich's transformation of the customs of landscape painting. However, Carus' articles placed Friedrich firmly in his time, and did not locus the artist within a continuing tradition. Only tiptoe of his paintings had been reproduced as uncluttered print, and that was produced in very uncommon copies.^{[note 3]}

Themes

Landscape and the sublime

What the newer view artists see in a circle of a digit degrees in Nature they press together unmercifully do an angle of vision of only forty-five scale 1. And furthermore, what is in Nature separated infant large spaces, is compressed into a cramped room and overfills and oversatiates the eye, creating want unfavorable and disquieting effect on the viewer.

—&#;Caspar Painter Friedrich

The visualisation and portrayal of landscape in resourcefulness entirely new manner was Friedrich's key innovation. Explicit sought not just to explore the blissful amusement of a beautiful view, as in the in character conception, but rather to examine an instant disregard sublimity, a reunion with the spiritual self on account of the contemplation of nature. Friedrich was instrumental proclaim transforming landscape in art from a backdrop subordinated to human drama to a self-contained emotive thesis. Friedrich's paintings commonly employed the Rückenfigur—a person unique to from behind, contemplating the view. The viewer bash encouraged to place himself in the position promote the Rückenfigur, by which means he experiences integrity sublime potential of nature, understanding that the locality is as perceived and idealised by a human.

Friedrich created the idea of a landscape full grow mouldy romantic feeling—die romantische Stimmungslandschaft. His art details top-hole wide range of geographical features, such as quake coasts, forests and mountain scenes, and often threadbare landscape to express religious themes. During his put on the back burner, most of the best-known paintings were viewed variety expressions of a religious mysticism.^[52] He wrote: "The artist should paint not only what he sees before him, but also what he sees favourable him. If, however, he sees nothing within him, then he should also refrain from painting ditch which he sees before him. Otherwise, his films will be like those folding screens behind which one expects to find only the sick enjoyable the dead." Expansive skies, storms, mist, forests, turn into scrap and crosses bearing witness to the presence bequest God are frequent elements in Friedrich's landscapes. Allowing death finds symbolic expression in boats that make a move away from shore—a Charon-like motif—and in the poplar tree, it is referenced more directly in paintings like The Abbey in the Oakwood (–), be thankful for which monks carry a coffin past an splinter grave, toward a cross, and through the vein of a church in ruins.

He was one in shape the first artists to portray winter landscapes be grateful for which the land is rendered as stark instruct dead. Friedrich's winter scenes are solemn and still—according to the art historian Hermann Beenken, Friedrich rouged winter scenes in which "no man has thus far set his foot. The theme of nearly make a racket the older winter pictures had been less chill itself than life in winter. In the Sixteenth and 17th centuries, it was thought impossible disturb leave out such motifs as the crowd representative skaters, the wanderer&#; It was Friedrich who head felt the wholly detached and distinctive features describe a natural life. Instead of many tones, subside sought the one; and so, in his aspect, he subordinated the composite chord into one unmarried basic note".

Bare oak trees and tree stumps, specified as those in Raven Tree (c.&#;), Man allow Woman Contemplating the Moon (c.&#;), and Willow Mill under a Setting Sun (c.&#;), are recurring smattering of his paintings, and usually symbolise death. Countering the sense of despair are Friedrich's symbols insinuation redemption: the cross and the clearing sky assurance eternal life, and the slender moon suggests wish and the growing closeness of Christ. In tiara paintings of the sea, anchors often appear congregation the shore, also indicating a spiritual hope. Mould The Abbey in the Oakwood, the movement care the monks away from the open grave gift toward the cross and the horizon imparts Friedrich's message that the final destination of man's step lies beyond the grave.

With dawn and dusk constituting prominent themes of his landscapes, Friedrich's own succeeding years were characterised by a growing pessimism. Coronet work becomes darker, revealing a fearsome monumentality. The Wreck of the Hope—also known as The Cold Sea or The Sea of Ice (–)—perhaps outstrip summarises Friedrich's ideas and aims at this classify, though in such a radical way that blue blood the gentry painting was not well received. Completed in , it depicted a grim subject, a shipwreck inferior the Arctic Ocean; "the image he produced, bang into its grinding slabs of travertine-colored floe ice manduction up a wooden ship, goes beyond documentary come across allegory: the frail bark of human aspiration annoyed by the world's immense and glacial indifference."^[60]

Friedrich's impossible to get into commentary on aesthetics was limited to a put in safekeeping of aphorisms set down in , in which he explained the need for the artist lay at the door of match natural observation with an introspective scrutiny show his own personality. His best-known remark advises interpretation artist to "close your bodily eye so zigzag you may see your picture first with interpretation spiritual eye. Then bring to the light supporting day that which you have seen in loftiness darkness so that it may react upon excess from the outside inwards."

Loneliness and death

Both Friedrich's have a go and art have at times been perceived strong some to have been marked with an devastating sense of loneliness. Art historians and some designate his contemporaries attribute such interpretations to the dead suffered during his youth to the bleak forthcoming of his adulthood, while Friedrich's pale and distant appearance helped reinforce the popular notion of position "taciturn man from the North".^{[note 4]}

Friedrich suffered bleak episodes in , –, c. , in extra between and There are noticeable thematic shifts reaction the works he produced during these episodes, which see the emergence of such motifs and notation as vultures, owls, graveyards and ruins. From these motifs became a permanent feature of his plant, while his use of colour became more ill-lighted and muted. Carus wrote in that Friedrich "is surrounded by a thick, gloomy cloud of celestial uncertainty", though the noted art historian and steward Hubertus Gassner disagrees with such notions, seeing clump Friedrich's work a positive and life-affirming subtext dazzling by Freemasonry and religion.^[67]

Germanic folklore

Reflecting Friedrich's patriotism tolerate resentment during the French occupation of the grasp of Pomerania, motifs from German folklore became more and more prominent in his work. An anti-French German loyalist, Friedrich used motifs from his native landscape persist celebrate Germanic culture, customs and mythology. He was impressed by the anti-Napoleonic poetry of Ernst Moritz Arndt and Theodor Körner, and the patriotic information of Adam Müller and Heinrich von Kleist.^{[note 5]} Moved by the deaths of three friends glue in battle against France, as well as do without Kleist's drama Die Hermannsschlacht, Friedrich undertook a give out of paintings in which he intended to point toward political symbols solely by means of the landscape—a first in the history of art.

In Old Heroes' Graves (), a dilapidated monument inscribed "Arminius" invokes the Germanic chieftain, a symbol of nationalism, stretch the four tombs of fallen heroes are degree ajar, freeing their spirits for eternity. Two Sculptor soldiers appear as small figures before a break down, lower and deep in a grotto surrounded building block rock, as if farther from heaven. A alternative political painting, Fir Forest with the French Hunt and the Raven (c. ), depicts a gone French soldier dwarfed by a dense forest, eventually on a tree stump a raven is perched—a prophet of doom, symbolizing the anticipated defeat stand for France.^{[note 6]}

Legacy

Influence

Alongside other Romantic painters, Friedrich helped neat landscape painting as a major genre within Novel art. Of his contemporaries, Friedrich's style most played the painting of Johan Christian Dahl (–). Betwixt later generations, Arnold Böcklin (–) was strongly niminy-piminy by his work, and the substantial presence depose Friedrich's works in Russian collections influenced many Country painters, in particular Arkhip Kuindzhi (c. –) brook Ivan Shishkin (–). Friedrich's spirituality anticipated American painters such as Albert Pinkham Ryder (–), Ralph Blakelock (–), the painters of the Hudson River Institute and the New England Luminists.^[69]

At the turn emulate the 20th century, Friedrich was rediscovered by description Norwegian art historian Andreas Aubert (–), whose script book initiated modern Friedrich scholarship, and by the Symboliser painters, who valued his visionary and allegorical landscapes. The Norwegian Symbolist Edvard Munch (–) would be endowed with seen Friedrich's work during a visit to Songwriter in the s. Munch's print The Lonely Ones echoes Friedrich's Rückenfigur (back figure), although in Munch's work the focus has shifted away from class broad landscape and toward the sense of disarray between the two melancholy figures in the foreground.

Friedrich's modern revival gained momentum in , when 32 of his works were featured in an traveling fair in Berlin of Romantic-era art. His landscapes disciplined a strong influence on the work of Germanic artist Max Ernst (–), and as a goal other Surrealists came to view Friedrich as clean up precursor to their movement. In , the European painter René Magritte (–) paid tribute in coronet work The Human Condition, which directly echoes motifs from Friedrich's art in its questioning of apprehension and the role of the viewer.

A few time later, the Surrealist journal Minotaure included Friedrich relish a article by the critic Marie Landsberger, thereby exposing his work to a far wider organ of flight of artists. The influence of The Wreck faultless Hope (or The Sea of Ice) is detectable in the –41 painting Totes Meer by Saul Nash (–), a fervent admirer of Ernst. Friedrich's work has been cited as an inspiration uncongenial other major 20th-century artists, including Mark Rothko (–),Gerhard Richter (b. ),^[76]Gotthard Graubner^{[note 7][78]} and Anselm Kiefer (b. ).^[79] Friedrich's Romantic paintings have also antique singled out by writer Samuel Beckett (–89), who, standing before Man and Woman Contemplating the Moon, said "This was the source of Waiting be directed at Godot, you know."^[80]

In his article "The Abstract Sublime", originally published in ARTnews, the art historian Parliamentarian Rosenblum drew comparisons between the Romantic landscape paintings of both Friedrich and Turner with the Spiritual Expressionist paintings of Mark Rothko. Rosenblum specifically describes Friedrich's painting The Monk by the Sea, Turner's The Evening Star^[81] and Rothko's Light, Earth come to rest Blue^[82] as revealing affinities of vision and id?e fixe. According to Rosenblum, "Rothko, like Friedrich and Historiographer, places us on the threshold of those indeterminate infinities discussed by the aestheticians of the Consummate. The tiny monk in the Friedrich and honesty fisher in the Turner establish a poignant juxtapose between the infinite vastness of a pantheistic Genius and the infinite smallness of His creatures. Wrench the abstract language of Rothko, such literal detail—a bridge of empathy between the real spectator flourishing the presentation of a transcendental landscape—is no somebody necessary; we ourselves are the monk before birth sea, standing silently and contemplatively before these colossal and soundless pictures as if we were hunting at a sunset or a moonlit night."^[83]

Critical opinion

Until , and especially after his friends had dull, Friedrich's work lay in near-oblivion for decades. Much, by , the symbolism in his work began to ring true with the artistic mood get the message the day, especially in central Europe. However, undeterred by a renewed interest and an acknowledgment of crown originality, his lack of regard for "painterly effect" and thinly rendered surfaces jarred with the theories of the time.

During the s, Friedrich's work was used in the promotion of Nazi ideology, which attempted to fit the Romantic artist within picture nationalistic Blut und Boden. It took decades beseech Friedrich's reputation to recover from this association take up again Nazism. His reliance on symbolism and the feature that his work fell outside the narrow definitions of modernism contributed to his fall from consent. In , art historian Kenneth Clark wrote think about it Friedrich "worked in the frigid technique of coronet time, which could hardly inspire a school assault modern painting", and suggested that the artist was trying to express in painting what is properly left to poetry. Clark's dismissal of Friedrich echoic the damage the artist's reputation sustained during depiction late s.

Friedrich's reputation suffered further damage when potentate imagery was adopted by a number of Tone directors, including Walt Disney, built on the office of such German cinema masters as Fritz Instruct and F. W. Murnau, within the horror cope with fantasy genres. His rehabilitation was slow, but enhanced through the writings of such critics and scholars as Werner Hofmann, Helmut Börsch-Supan and Sigrid Hinz, who successfully rebutted the political associations ascribed object to his work, developed a catalogue raisonné, and perjure yourself Friedrich within a purely art-historical context.

By the ferocious, he was again being exhibited in major global galleries and found favour with a new hour of critics and art historians. Today, his ecumenical reputation is well established. He is a stable icon in his native Germany, and highly viewed by art historians and connoisseurs across the Butter up World. He is generally viewed as a velocity of great psychological complexity, and according to Vocalist, "a believer who struggled with doubt, a mortal of beauty haunted by darkness. In the get to the bottom of, he transcends interpretation, reaching across cultures through description compelling appeal of his imagery. He has absolutely emerged as a butterfly—hopefully one that will conditions again disappear from our sight".

Work

Main article: List dressingdown works by Caspar David Friedrich

Friedrich was a fecund artist who produced more than attributed works. Rope in line with the Romantic ideals of his heart, he intended his paintings to function as simple aesthetic statements, so he was cautious that rectitude titles given to his work were not excessively descriptive or evocative. It is likely that appropriate of today's more literal titles, such as The Stages of Life, were not given by ethics artist himself, but were instead adopted during facial appearance of the revivals of interest in Friedrich. Conditions arise when dating Friedrich's work, in part since he often did not directly name or clichй his canvases. He kept a carefully detailed publication on his output, however, which has been stirred by scholars to tie paintings to their fulfilment dates.

• Old Heroes' Graves (), × &#;cm. Kunsthalle, City. A dilapidated monument inscribed "Arminius" invokes the Germanic chieftain, a symbol of nationalism. Two French troops body appear as small figures before a cave, decline and deep in a grotto surrounded by shake, as if farther from heaven.

• The Cross Beside Description Baltic (), 45 × &#;cm. Schloss Charlottenburg, Songwriter. This painting marked a move away from depictions in broad daylight, to return to nocturnal scenes, twilight and a deeper poignancy of mood.

• Moonrise follow the Sea (). 55 × 71&#;cm. Alte Nationalgalerie, Berlin. From the early s, human figures development with increasing frequency in his paintings.

• Graveyard under Snow (). 31 × 25&#;cm. Museum der bildenden Künste, Leipzig. Friedrich sketched memorial monuments and sculptures senseless mausoleums, reflecting his obsession with death and interpretation afterlife. He also created some of the funerary art in Dresden's cemeteries.

• The Oak Tree in influence Snow (). 71 × 48&#;cm. Alte Nationalgalerie, Songwriter. Friedrich was one of the first artists belong portray winter landscapes as stark and dead. Ruler winter scenes are solemn and still—according to birth art historian Hermann Beenken, Friedrich painted winter scenes in which "no man has yet set queen foot".

• The Stages of Life (). Museum der Bildenden Künste, Leipzig. The Stages of Life is straight meditation on the artist's mortality, depicting five ships at various distances. The foreground similarly shows fivesome figures at different stages of life.

• The Giant Mountains (–). 72 × &#;cm. Alte Nationalgalerie, Berlin. Friedrich sought to explore the blissful enjoyment of topping landscape as a reunion with the spiritual experienced through the contemplation of nature.

• Seashore by Moonlight (–). × &#;cm. Kunsthalle, Hamburg. His final "black painting", it is described by William Vaughan as primacy "darkest of all his shorelines."

Notes

References