By Friedrich, Caspar David; Friedrich, Caspar David; Koerner, Joseph Leo
Caspar David Friedrich (1774–1840) is heralded because the maximum painter of the Romantic flow in Germany, and Europe’s first actually sleek artist. His mysterious and depression landscapes, usually peopled with lonely wanderers, are experiments in a significantly subjective creative perspective—one within which, as Freidrich wrote, the painter depicts no longer “what he sees ahead of him, yet what he sees inside him.” This vulnerability of the person while faced with nature turned one of many key tenets of the Romantic aesthetic.
Now to be had in a compact, available structure, this superbly illustrated e-book is the main finished account ever released in English of 1 of the main attention-grabbing and influential nineteenth-century painters.
“This is a version of interpretative paintings historical past, taking in a great deal of German Romantic philosophy, yet based consistently at the speedy adventure of the image. . . . it really is infrequent to discover a pupil so evidently in sympathy together with his subject.”—Independent
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Extra info for Caspar David Friedrich and the Subject of Landscape: Second Edition
But then does this not describe the very function of the term ‘Romantic’ for the movement that bears this name? As evocation of the faraway and indistinct, as the evocation of an evocation, Romantic names that which is properly unnameable about the project of Romanticism. ’ The estimated length of this explanation only ironizes, through its mock precision, the absence of definition in Schlegel’s master term. In his most famous text, the Fragment from the first issue in of the Athenaeum, the founding journal of early Romanticism, Schlegel describes Romantic poetry as something which, by definition, cannot yet (or ever) be described: The Romantic kind of poetry is still in a state of becoming; in fact that is its real essence: that it should eternally be becoming and never be completed.
Hill and Ploughed Field near Dresden, c. . Kunsthalle, Hamburg. View from the Artist’s Atelier, Left Window, –. Kunsthistorisches Museum, Vienna. 4 The Non-Contemporaneity of the Contemporary Few paintings are as complexly located in the history of art as Friedrich’s large oil Cross in the Mountains (illus. ). Painted over a period from about January to December , the picture was the artist’s largest and most ambitious to date. Partly because of its unusual subject matter, pictorial treatment and intended function, and partly because of the public debate it sparked, it established Friedrich instantly as one of Germany’s most influential and controversial young painters.
In Winter Landscape with Church, the landscape realizes this potential. The wanderer discovers the icon of God in nature; and we, the painting’s Altar (Design for the Marienkirche in Stralsund), –. Germanisches Nationalmuseum, Nuremberg. interpreters, are shown analogies between fir tree and cathedral in confirmation of our exegetical surmise. If Schlegel desired that his writings be Bibles, Friedrich fashions the Romantic painter’s corollary aspiration: that his canvases be altars.