Caspar David Friedrich - Wikipedia, The Free Encyclopedia

5/25/2016
CasparDavidFriedrichWikipedia,thefreeencyclopedia
CasparDavidFriedrich
FromWikipedia,thefreeencyclopedia
CasparDavidFriedrich(5September17747May1840)was
a19thcenturyGermanRomanticlandscapepainter,generally
consideredthemostimportantGermanartistofhisgeneration.[2]
Heisbestknownforhismidperiodallegoricallandscapeswhich
typicallyfeaturecontemplativefiguressilhouettedagainstnight
skies,morningmists,barrentreesorGothicruins.Hisprimary
interestasanartistwasthecontemplationofnature,andhisoften
symbolicandanticlassicalworkseekstoconveyasubjective,
emotionalresponsetothenaturalworld.Friedrich'spaintings
characteristicallysetahumanpresenceindiminishedperspective
amidexpansivelandscapes,reducingthefigurestoascalethat,
accordingtothearthistorianChristopherJohnMurray,directs
"theviewer'sgazetowardstheirmetaphysicaldimension".[3]
FriedrichwasborninthePomeraniantownofGreifswaldatthe
BalticSea,wherehebeganhisstudiesinartasayoungman.He
PortraitofCasparDavidFriedrich,
studiedinCopenhagenuntil1798,beforesettlinginDresden.He
GerhardvonKgelgenc.181020
cameofageduringaperiodwhen,acrossEurope,agrowing
disillusionmentwithmaterialisticsocietywasgivingrisetoa
newappreciationofspirituality.Thisshiftinidealswasoftenexpressedthroughareevaluationofthe
naturalworld,asartistssuchasFriedrich,J.M.W.Turner(17751851)andJohnConstable(1776
1837)soughttodepictnatureasa"divinecreation,tobesetagainsttheartificeofhumancivilization".[4]
Friedrich'sworkbroughthimrenownearlyinhiscareer,andcontemporariessuchastheFrenchsculptor
Davidd'Angers(17881856)spokeofhimasamanwhohaddiscovered"thetragedyoflandscape".[5]
Nevertheless,hisworkfellfromfavourduringhislateryears,andhediedinobscurity,andinthewords
ofthearthistorianPhilipMiller,"halfmad".[6]AsGermanymovedtowardsmodernisationinthelate
19thcentury,anewsenseofurgencycharacteriseditsart,andFriedrich'scontemplativedepictionsof
stillnesscametobeseenastheproductsofabygoneage.Theearly20thcenturybroughtarenewed
appreciationofhiswork,beginningin1906withanexhibitionofthirtytwoofhispaintingsand
sculpturesinBerlin.Bythe1920shispaintingshadbeendiscoveredbytheExpressionists,andinthe
1930sandearly1940sSurrealistsandExistentialistsfrequentlydrewideasfromhiswork.Theriseof
Nazismintheearly1930sagainsawaresurgenceinFriedrich'spopularity,butthiswasfollowedbya
sharpdeclineashispaintingswere,byassociationwiththeNazimovement,interpretedashavinga
nationalisticaspect.[7]Itwasnotuntilthelate1970sthatFriedrichregainedhisreputationasaniconof
theGermanRomanticmovementandapainterofinternationalimportance.
Contents
1 Life
1.1 Earlyyearsandfamily
1.2 MovetoDresden
1.3 Marriage
1.4 Laterlifeanddeath
2
Themes
https://en.wikipedia.org/wiki/Caspar_David_Friedrich
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2 Themes
2.1 Landscapeandthesublime
2.2 Lonelinessanddeath
2.3 Germanicfolklore
3 Legacy
3.1 Influence
3.2 Criticalopinion
4 Work
5 Seealso
6 References
7 Sources
8 Externallinks
Life
Earlyyearsandfamily
WandererabovetheSeaofFog
(1818).94.874.8cm,Kunsthalle
Hamburg.Thiswellknownand
especiallyRomanticmasterpiecewas
describedbythehistorianJohnLewis
Gaddisasleavingacontradictory
impression,"suggestingatonce
masteryoveralandscapeandthe
insignificanceoftheindividualwithin
it.Weseenoface,soit'simpossible
toknowwhethertheprospectfacing
theyoungmanisexhilarating,or
CasparDavidFriedrichwasbornon5September1774,in
Greifswald,SwedishPomerania,ontheBalticcoastof
Germany.[8]Thesixthoftenchildren,hewasbroughtupinthe
strictLutherancreedofhisfatherAdolfGottliebFriedrich,a
candlemakerandsoapboiler.[4]Recordsofthefamily'sfinancial
circumstancesarecontradictorywhilesomesourcesindicatethe
childrenwereprivatelytutored,othersrecordthattheywere
raisedinrelativepoverty.[9]CasparDavidwasfamiliarwith
deathfromanearlyage.Hismother,SophieDorotheaBechly,
terrifying,orboth."[1]
diedin1781whenhewasjustseven.[10]Ayearlater,hissister
Elisabethdied,[11]whileasecondsister,Maria,succumbedto
typhusin1791.[9]Arguablythegreatesttragedyofhischildhoodwasthe1787deathofhisbrother
JohannChristoffer:attheageofthirteen,CasparDavidwitnessedhisyoungerbrotherfallthroughthe
iceofafrozenlakeanddrown.[12]SomeaccountssuggestthatJohannChristofferperishedwhiletrying
torescueCasparDavid,whowasalsoindangerontheice.[13]
Friedrichbeganhisformalstudyofartin1790asaprivatestudentofartistJohannGottfriedQuistorpat
theUniversityofGreifswaldinhishomecity,atwhichtheartdepartmentisnownamedCasparDavid
FriedrichInstitut[15]inhishonour.Quistorptookhisstudentsonoutdoordrawingexcursionsasa
result,Friedrichwasencouragedtosketchfromlifeatanearlyage.[16]ThroughQuistorp,Friedrichmet
andwassubsequentlyinfluencedbythetheologianLudwigGotthardKosegarten,whotaughtthatnature
wasarevelationofGod.[16]QuistorpintroducedFriedrichtotheworkoftheGerman17thcenturyartist
AdamElsheimer,whoseworksoftenincludedreligioussubjectsdominatedbylandscape,andnocturnal
subjects.[17]DuringthisperiodhealsostudiedliteratureandaestheticswithSwedishprofessorThomas
Thorild.FouryearslaterFriedrichenteredtheprestigiousAcademyofCopenhagen,wherehebeganhis
educationbymakingcopiesofcastsfromantiquesculpturesbeforeproceedingtodrawingfromlife.[18]
LivinginCopenhagenaffordedtheyoungpainteraccesstotheRoyalPictureGallery'scollectionof
17thcenturyDutchlandscapepainting.AttheAcademyhestudiedunderteacherssuchasChristian
AugustLorentzenandthelandscapepainterJensJuel.TheseartistswereinspiredbytheSturmund
Drangmovementandrepresentedamidpointbetweenthedramaticintensityandexpressivemannerof
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thebuddingRomanticaestheticandthewaningneoclassical
ideal.Moodwasparamount,andinfluencewasdrawnfromsuch
sourcesastheIcelandiclegendofEdda,thepoemsofOssianand
Norsemythology.[19]
FriedrichsettledpermanentlyinDresdenin1798.Duringthis
earlyperiod,heexperimentedinprintmakingwithetchings[20]
anddesignsforwoodcutswhichhisfurnituremakerbrothercut.
By1804hehadproduced18etchingsandfourwoodcutsthey
wereapparentlymadeinsmallnumbersandonlydistributedto
friends.[21]Despitetheseforaysintoothermedia,hegravitated
towardworkingprimarilywithink,watercolourandsepias.With
theexceptionofafewearlypieces,suchasLandscapewith
TempleinRuins(1797),hedidnotworkextensivelywithoils
untilhisreputationwasmoreestablished.[22]Landscapeswere
hispreferredsubject,inspiredbyfrequenttrips,beginningin
1801,totheBalticcoast,Bohemia,theKrkonoeandtheHarz
Mountains.[23]Mostlybasedonthelandscapesofnorthern
ThechalkdrawingSelfportrait,
Germany,hispaintingsdepictwoods,hills,harbors,morning
1800,whichportraystheartistat26,
mistsandotherlighteffectsbasedonacloseobservationof
wascompletedwhilehewasstudying
nature.Theseworksweremodeledonsketchesandstudiesof
attheRoyalAcademyin
scenicspots,suchasthecliffsonRgen,thesurroundingsof
Copenhagen.RoyalMuseumofFine
DresdenandtheriverElbe.Heexecutedhisstudiesalmost
Arts,Copenhagen[14]
exclusivelyinpencil,evenprovidingtopographicalinformation,
yetthesubtleatmosphericeffectscharacteristicofFriedrich's
midperiodpaintingswererenderedfrommemory.[24]Theseeffectstooktheirstrengthfromthe
depictionoflight,andoftheilluminationofsunandmoononcloudsandwater:opticalphenomena
peculiartotheBalticcoastthathadneverbeforebeenpaintedwithsuchanemphasis.[25]
MovetoDresden
Friedrichestablishedhisreputationasanartistwhenhewonaprizein1805attheWeimarcompetition
organisedbythewriter,poet,anddramatistJohannWolfgangvonGoethe.Atthetime,theWeimar
competitiontendedtodrawmediocreandnowlongforgottenartistspresentingderivativemixturesof
neoclassicalandpseudoGreekstyles.Thepoorqualityoftheentriesbegantoprovedamagingto
Goethe'sreputation,sowhenFriedrichenteredtwosepiadrawingsProcessionatDawnandFisher
FolkbytheSeathepoetrespondedenthusiasticallyandwrote,"Wemustpraisetheartist's
resourcefulnessinthispicturefairly.Thedrawingiswelldone,theprocessionisingeniousand
appropriate...histreatmentcombinesagreatdealoffirmness,diligenceandneatness...theingenious
watercolour...isalsoworthyofpraise."[26]
Friedrichcompletedthefirstofhismajorpaintingsin1807,attheageof34.TheCrossinthe
Mountains,todayknownastheTetschenAltar(GalerieNeueMeister,Dresden),isanaltarpiecepanel
commissionedbytheCountessofThunforherfamily'schapelinTetschen,Bohemia.Itwastobeoneof
thefewcommissionstheartistreceived.[27]ThealtarpaneldepictsaGipfelkreuz,oragildedcross,in
profileatthetopofamountain,alone,andsurroundedbyGermanandAustrianpinetrees.[28]Thecross
reachesthehighestpointinthepictorialplanebutispresentedfromanobliqueandadistantviewpoint.
NaturedominatesthesceneandforthefirsttimeinChristianart,analtarpieceshowcasesalandscape.
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AccordingtothearthistorianLindaSiegel,thedesignofthe
altarpieceisthe"logicalclimaxofmanyearlierdrawingsofhis
whichdepictedacrossinnature'sworld."[27]
TheTetschenAltar,orTheCrossin
theMountains(1807).115
110.5cm.GalerieNeueMeister,
Dresden.Friedrich'sfirstmajorwork,
thepiecebreakswiththetraditionsof
representingthecrucifixionin
altarpiecesbydepictingthesceneasa
landscape.
TheworkwasfirstexhibitedonChristmasDay,1808.[27]
Althoughitwasgenerallycoldlyreceived,itwasnevertheless
Friedrich'sfirstpaintingtoreceivewidepublicity.Theartist's
friendspubliclydefendedthework,whileartcriticBasiliusvon
RamdohrpublishedalengthyarticlerejectingFriedrich'suseof
landscapeinsuchacontexthewrotethatitwouldbe"averitable
presumption,iflandscapepaintingweretosneakintothechurch
andcreepontothealtar".Ramdohrfundamentallychallengedthe
conceptthatpurelandscapepaintingcouldconveyexplicit
meaning.[29]Friedrichrespondedwithaprogrammedescribing
hisintentions.Inhis1809commentaryonthepainting,he
comparedtheraysoftheeveningsuntothelightoftheHoly
Father.[30]ThesinkingofthesunsuggeststhattheerawhenGod
revealedhimselfdirectlytomanhaspassed.Thisstatement
markedtheonlytimeFriedrichrecordedadetailedinterpretation
ofhisownwork.
Friedrichwaselecteda
memberoftheBerlinAcademyin1810followingthepurchase
oftwoofhispaintingsbythePrussianCrownPrince.[31]Yetin
1816,hesoughttodistancehimselffromPrussianauthority,and
thatJuneappliedforSaxoncitizenship.Themovewas
unexpectedbyhisfriends,astheSaxongovernmentofthetime
wasproFrench,whileFriedrich'spaintingstodatewereseenas
generallypatrioticanddistinctlyantiFrench.Nevertheless,with
theaidofhisDresdenbasedfriendGrafVitzthumvonEckstdt,
Friedrichattainednotonlycitizenship,butin1818,aplaceinthe
SaxonAcademyasamemberwithayearlydividendof150
thalers.[32]AlthoughhehopedtoreceiveafullProfessorship,it
wasneverawardedhimas,accordingtotheGermanLibraryof
Information,"itwasfeltthathispaintingwastoopersonal,his
pointofviewtooindividualtoserveasafruitfulexampleto
students."[33]Politicstoomayhaveplayedaroleinthestallingof
hiscareer:Friedrich'sdecidedlyGermanicchoiceofsubjectand
costumingfrequentlyclashedwiththeprevailingproFrench
attitudesofthetime.[34]
RockyLandscapeintheElbe
SandstoneMountainsbyCaspar
DavidFriedrich,between1822and
1823
Marriage
On21January1818,FriedrichmarriedCarolineBommer,thetwentyfiveyearolddaughterofadyer
fromDresden.[31]Thecouplehadthreechildren,withtheirfirst,Emma,arrivingin1820.Physiologist
andpainterCarlGustavCarusnotesinhisbiographicalessaysthatmarriagedidnotimpactsignificantly
oneitherFriedrich'slifeorpersonality,yethiscanvassesfromthisperiod,includingChalkCliffson
Rgenpaintedafterhishoneymoondisplayanewsenseoflevity,whilehispaletteisbrighterand
lessaustere.[36]Humanfiguresappearwithincreasingfrequencyinthepaintingsofthisperiod,which
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Siegelinterpretsasareflectionthat"theimportanceofhuman
life,particularlyhisfamily,nowoccupieshisthoughtsmoreand
more,andhisfriends,hiswife,andhistownspeopleappearas
frequentsubjectsinhisart."[37]
ChalkCliffsonRgen(1818).90.5
71cm.MuseumOskarReinhartam
Stadtgarten,Winterthur,Switzerland.
FriedrichmarriedChristianeCaroline
Bommerin1818,andontheir
honeymoontheyvisitedrelativesin
NeubrandenburgandGreifswald.
Thispaintingcelebratesthecouple's
Aroundthistime,theartistfoundsupportfromtwosourcesin
Russia.In1820,GrandDukeNikolaiPavlovich,atthebehestof
hiswifeAlexandraFeodorovna,visitedFriedrich'sstudioand
returnedtoSaintPetersburgwithanumberofhispaintings.The
exchangemarkedthebeginningofapatronagethatcontinuedfor
manyyears.[38]Notlongthereafter,thepoetVasilyZhukovsky,
tutortoAlexanderII,metFriedrichin1821andfoundinhima
kindredspirit.FordecadesZhukovskyhelpedFriedrichbothby
purchasinghisworkhimselfandbyrecommendinghisarttothe
royalfamilyhisassistancetowardtheendofFriedrich'scareer
provedinvaluabletotheailingandimpoverishedartist.
Zhukovskyremarkedthathisfriend'spaintings"pleaseusby
theirprecision,eachofthemawakeningamemoryinour
mind."[39]
FriedrichwasacquaintedwithPhilippOttoRunge(17771810),
anotherleadingGermanpainteroftheRomanticperiod.Hewas
alsoafriendofGeorgFriedrichKersting(17851847),who
paintedhimatworkinhisunadornedstudio,andofthe
union. [35]
NorwegianpainterJohanChristianClausenDahl(17881857).
DahlwasclosetoFriedrichduringtheartist'sfinalyears,andhe
expresseddismaythattotheartbuyingpublic,Friedrich'spictureswereonly"curiosities".[40]Whilethe
poetZhukovskyappreciatedFriedrich'spsychologicalthemes,Dahlpraisedthedescriptivequalityof
Friedrich'slandscapes,commentingthat"artistsandconnoisseurssawinFriedrich'sartonlyakindof
mystic,becausetheythemselveswereonlylookingoutforthemystic...TheydidnotseeFriedrich's
faithfulandconscientiousstudyofnatureineverythingherepresented".[39]
DuringthisperiodFriedrichfrequentlysketchedmemorialmonumentsandsculpturesformausoleums,
reflectinghisobsessionwithdeathandtheafterlifeheevencreateddesignsforsomeofthefuneraryart
inDresden'scemeteries.SomeoftheseworkswerelostinthefirethatdestroyedMunich'sGlassPalace
(1931)andlaterinthe1945bombingofDresden.
Laterlifeanddeath
Friedrich'sreputationsteadilydeclinedoverthefinalfifteenyearsofhislife.Astheidealsofearly
Romanticismpassedfromfashion,hecametobeviewedasaneccentricandmelancholycharacter,out
oftouchwiththetimes.Graduallyhispatronsfellaway.[41]By1820,hewaslivingasarecluseandwas
describedbyfriendsasthe"mostsolitaryofthesolitary".[33]Towardstheendofhislifehelivedin
relativepovertyandwasincreasinglydependentonthecharityoffriends.[23]Hebecameisolatedand
spentlongperiodsofthedayandnightwalkingalonethroughwoodsandfields,oftenbeginninghis
strollsbeforesunrise.
InJune1835,Friedrichsufferedhisfirststroke,whichlefthimwithminorlimbparalysisandgreatly
reducedhisabilitytopaint.[42]Asaresult,hewasunabletoworkinoilinsteadhewaslimitedto
watercolour,sepiaandreworkingoldercompositions.
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Althoughhisvisionremainedstrong,hehadlostthefullstrengthof
hishand.Yethewasabletoproduceafinal'blackpainting',
SeashorebyMoonlight(183536),describedbyVaughanasthe
"darkestofallhisshorelines,inwhichrichnessoftonality
compensatesforthelackofhisformerfinesse".[43]
Symbolsofdeathappearedinhisotherworkfromthisperiod.[41]
Soonafterhisstroke,theRussianroyalfamilypurchasedanumber
ofhisearlierworks,andtheproceedsallowedhimtotravelto
Teplitzintoday'sCzechRepublictorecover.[43]
GeorgFriedrichKersting,Caspar
DavidFriedrichinhisStudio
(1819)AlteNationalgalerie,
Berlin.Kerstingportraysanaged
Friedrichholdingamaulstickat
hiscanvas.
ThegraveofCasparDavid
Friedrich,TrinitatisFriedhof,
Dresden
Duringthemid1830s,Friedrichbeganaseriesofportraitsandhe
returnedtoobservinghimselfinnature.AsthearthistorianWilliam
Vaughanhasobserved,however,"Hecanseehimselfasaman
greatlychanged.Heisnolongertheupright,supportivefigurethat
appearedinTwoMenContemplatingtheMoonin1819.Heisold
andstiff...hemoveswithastoop".[44]
By1838,hewascapableonlyofworkinginasmallformat.Heand
hisfamilywerelivinginpovertyandgrewincreasinglydependent
forsupportonthecharityoffriends.[45]
FriedrichdiedinDresdenon7
May1840,andwasburiedin
Dresden'sTrinitatisFriedhof
(TrinityCemetery)eastofthe
citycentre(theentrancetowhich
hehadpaintedsome15years
earlier).Thesimpleflat
gravestoneliesnorthwestofthe
centralroundelwithinthemain
avenue.
Bythetimeofhisdeath,his
reputationandfamewerewaning,andhispassingwaslittlenoticed
withintheartisticcommunity.[33]Hisartworkhadcertainlybeen
acknowledgedduringhislifetime,butnotwidely.Whiletheclose
Friedrich:CemeteryEntrance
studyoflandscapeandanemphasisonthespiritualelementsof
GalerieNeueMeister,Dresden
naturewerecommonplaceincontemporaryart,hisworkwastoo
originalandpersonaltobewellunderstood.[2]By1838,hisworkno
longersoldorreceivedattentionfromcriticstheRomanticmovementhadbeenmovingawayfromthe
earlyidealismthattheartisthadhelpedfound.
Afterhisdeath,CarlGustavCaruswroteaseriesofarticleswhichpaidtributetoFriedrich's
transformationoftheconventionsoflandscapepainting.However,Carus'articlesplacedFriedrich
firmlyinhistime,anddidnotplacetheartistwithinacontinuingtradition.[46]Onlyoneofhispaintings
hadbeenreproducedasaprint,andthatwasproducedinveryfewcopies.[47][48]
Themes
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Landscapeandthesublime
Thevisualisationandportrayaloflandscapeinanentirelynew
mannerwasFriedrich'skeyinnovation.Hesoughtnotjustto
exploretheblissfulenjoymentofabeautifulview,asintheclassic
conception,butrathertoexamineaninstantofsublimity,a
reunionwiththespiritualselfthroughthecontemplationofnature.
Friedrichwasinstrumentalintransforminglandscapeinartfroma
backdropsubordinatedtohumandramatoaselfcontained
emotivesubject.[49]Friedrich'spaintingscommonlyemployedthe
Rckenfigurapersonseenfrombehind,contemplatingtheview.
Theviewerisencouragedtoplacehimselfinthepositionofthe
Rckenfigur,bywhichmeansheexperiencesthesublimepotential
ofnature,understandingthatthesceneisasperceivedand
idealisedbyahuman.[50]Friedrichcreatedthenotionofa
landscapefullofromanticfeelingdieromantische
Stimmungslandschaft.[51]Hisartdetailsawiderangeof
geographicalfeatures,suchasrockcoasts,forests,andmountain
scenes.Heoftenusedthelandscapetoexpressreligiousthemes.
Duringhistime,mostofthebestknownpaintingswereviewedas
expressionsofareligiousmysticism.[52]
Friedrichsaid,"Theartistshouldpaintnotonlywhathesees
beforehim,butalsowhatheseeswithinhim.If,however,he
seesnothingwithinhim,thenheshouldalsorefrainfrom
paintingthatwhichheseesbeforehim.Otherwise,hispictures
willbelikethosefoldingscreensbehindwhichoneexpectsto
findonlythesickorthedead."[54]Expansiveskies,storms,mist,
forests,ruinsandcrossesbearingwitnesstothepresenceofGod
arefrequentelementsinFriedrich'slandscapes.Thoughdeath
findssymbolicexpressioninboatsthatmoveawayfromshore
aCharonlikemotifandinthepoplartree,itisreferencedmore
directlyinpaintingslikeTheAbbeyintheOakwood(180810),
inwhichmonkscarryacoffinpastanopengrave,towardacross,
andthroughtheportalofachurchinruins.
Whatthenewer
landscapeartistssee
inacircleofa
hundreddegreesin
Naturetheypress
togetherunmercifully
intoanangleof
visionofonlyforty
fivedegrees.And
furthermore,whatis
inNatureseparated
bylargespaces,is
compressedintoa
crampedspaceand
overfillsand
oversatiatestheeye,
creatingan
unfavorableand
disquietingeffecton
theviewer.
CasparDavidFriedrich[49]
TheAbbeyintheOakwood(1808
10).110.4171cm.Alte
Nationalgalerie,Berlin.AlbertBoime
writes,"Likeascenefromahorror
movie,itbringstobearonthesubject
alltheGothicclichsofthelate
eighteenthandearlynineteenth
Hewasoneofthefirstartiststoportraywinterlandscapesin
whichthelandisrenderedasstarkanddead.Friedrich'swinter
scenesaresolemnandstillaccordingtothearthistorian
centuries". [53]
HermannBeenken,Friedrichpaintedwinterscenesinwhich"no
manhasyetsethisfoot.Thethemeofnearlyalltheolderwinter
pictureshadbeenlesswinteritselfthanlifeinwinter.Inthe16thand17thcenturies,itwasthought
impossibletoleaveoutsuchmotifsasthecrowdofskaters,thewanderer...ItwasFriedrichwhofirstfelt
thewhollydetachedanddistinctivefeaturesofanaturallife.Insteadofmanytones,hesoughttheone
andso,inhislandscape,hesubordinatedthecompositechordintoonesinglebasicnote".[51]
Bareoaktreesandtreestumps,suchasthoseinRavenTree(c.1822),ManandWomanContemplating
theMoon(c.1833),andWillowBushunderaSettingSun(c.1835),arerecurringelementsofFriedrich's
paintings,symbolizingdeath.[56]CounteringthesenseofdespairareFriedrich'ssymbolsforredemption:
thecrossandtheclearingskypromiseeternallife,andtheslendermoonsuggestshopeandthegrowing
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closenessofChrist.[57]Inhispaintingsofthesea,anchorsoften
appearontheshore,alsoindicatingaspiritualhope.[58]German
literaturescholarAliceKuzniarfindsinFriedrich'spaintinga
temporalityanevocationofthepassageoftimethatisrarely
highlightedinthevisualarts.[59]Forexample,inTheAbbeyin
theOakwood,themovementofthemonksawayfromtheopen
graveandtowardthecrossandthehorizonimpartsFriedrich's
messagethatthefinaldestinationofman'slifeliesbeyondthe
grave.[60]
Withdawnandduskconstitutingprominentthemesofhis
landscapes,Friedrich'sownlateryearswerecharacterizedbya
growingpessimism.Hisworkbecomesdarker,revealinga
fearsomemonumentality.TheWreckoftheHopealsoknownas
ThePolarSeaorTheSeaofIce(182324)perhapsbest
summarizesFriedrich'sideasandaimsatthispoint,thoughin
sucharadicalwaythatthepaintingwasnotwellreceived.
Completedin1824,itdepictedagrimsubject,ashipwreckinthe
ArcticOcean"theimageheproduced,withitsgrindingslabsof
travertinecoloredfloeicechewingupawoodenship,goes
beyonddocumentaryintoallegory:thefrailbarkofhuman
aspirationcrushedbytheworld'simmenseandglacial
indifference."[62]
Friedrich'swrittencommentaryonaestheticswaslimitedtoa
collectionofaphorismssetdownin1830,inwhichheexplained
theneedfortheartisttomatchnaturalobservationwithan
introspectivescrutinyofhisownpersonality.Hisbestknown
remarkadvisestheartistto"closeyourbodilyeyesothatyou
mayseeyourpicturefirstwiththespiritualeye.Thenbringto
thelightofdaythatwhichyouhaveseeninthedarknesssothat
itmayreactuponothersfromtheoutsideinwards."[63]He
rejectedtheoverreachingportrayalsofnatureinits"totality",as
foundintheworkofcontemporarypainterslikeAdrianLudwig
Richter(180384)andJosephAntonKoch(17681839).
TheSeaofIce(182324),Kunsthalle
Hamburg.Thisscenehasbeen
describedas"astunningcomposition
ofnearanddistantformsinanArctic
image". [55]
ManandWomanContemplatingthe
Moon(183035).3444cm.Alte
Nationalgalerie,Berlin.Acouple
gazelonginglyatnature.Dressedin
"OldGerman"clothes,accordingto
RobertHughestheyare"scarcely
differentintoneormodellingfrom
thedeepdramasofnaturearound
them". [61]
Lonelinessanddeath
BothFriedrich'slifeandarthaveattimesbeenperceivedbysometohavebeenmarkedwithan
overwhelmingsenseofloneliness.[64]Arthistoriansandsomeofhiscontemporariesattributesuch
interpretationstothelossessufferedduringhisyouthtothebleakoutlookofhisadulthood,[65]while
Friedrich'spaleandwithdrawnappearancehelpedreinforcethepopularnotionofthe"taciturnmanfrom
theNorth".[66][67]
Friedrichsuffereddepressiveepisodesin1799,18031805,c.1813,in1816andbetween1824and1826.
Therearenoticeablethematicshiftsintheworksheproducedduringtheseepisodes,whichseethe
emergenceofsuchmotifsandsymbolsasvultures,owls,graveyardsandruins.[68]From1826these
motifsbecameapermanentfeatureofhisoutput,whilehisuseofcolorbecamemoredarkandmuted.
Caruswrotein1929thatFriedrich"issurroundedbyathick,gloomycloudofspiritualuncertainty",
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thoughthenotedarthistorianandcuratorHubertusGassner
disagreeswithsuchnotions,seeinginFriedrich'sworkapositive
andlifeaffirmingsubtextinspiredbyFreemasonryand
religion.[69]
Germanicfolklore
ReflectingFriedrich'spatriotismandresentmentduringthe1813
FrenchoccupationofthedominionofPomerania,motifsfrom
Germanfolklorebecameincreasinglyprominentinhiswork.An
antiFrenchGermannationalist,Friedrichusedmotifsfromhis
nativelandscapetocelebrateGermanicculture,customsand
mythology.HewasimpressedbytheantiNapoleonicpoetryof
ErnstMoritzArndtandTheodorKrner,andthepatriotic
literatureofAdamMllerandHeinrichvonKleist.[70]Movedby
thedeathsofthreefriendskilledinbattleagainstFrance,aswell
asbyKleist's1808dramaDieHermannsschlacht,Friedrich
undertookanumberofpaintingsinwhichheintendedtoconvey
politicalsymbolssolelybymeansofthelandscapeafirstinthe
historyofart.
CasparDavidFriedrich,oilon
canvas,byCarlJohannBaehr,1836,
NewMastersGallery,Dresden
InOldHeroes'Graves(1812),adilapidatedmonumentinscribed"Arminius"invokestheGermanic
chieftain,asymbolofnationalism,whilethefourtombsoffallenheroesareslightlyajar,freeingtheir
spiritsforeternity.TwoFrenchsoldiersappearassmallfiguresbeforeacave,loweranddeepinagrotto
surroundedbyrock,asiffartherfromheaven.[58]Asecondpoliticalpainting,FirForestwiththeFrench
DragoonandtheRaven(c.1813),depictsalostFrenchsoldierdwarfedbyadenseforest,whileona
treestumparavenisperchedaprophetofdoom,symbolizingtheanticipateddefeatofFrance.[71]
Legacy
Influence
AlongsideotherRomanticpainters,Friedrichhelpedpositionlandscapepaintingasamajorgenrewithin
Westernart.Ofhiscontemporaries,Friedrich'sstylemostinfluencedthepaintingofJohanChristian
Dahl(17881857).Amonglatergenerations,ArnoldBcklin(18271901)wasstronglyinfluencedby
hiswork,andthesubstantialpresenceofFriedrich'sworksinRussiancollectionsinfluencedmany
Russianpainters,inparticularArkhipKuindzhi(c.18421910)andIvanShishkin(183298).Friedrich's
spiritualityanticipatedAmericanpainterssuchasAlbertPinkhamRyder(18471917),RalphBlakelock
(18471919),thepaintersoftheHudsonRiverSchoolandtheNewEnglandLuminists.[72]
Attheturnofthe20thcentury,FriedrichwasrediscoveredbytheNorwegianarthistorianAndreas
Aubert(18511913),whosewritinginitiatedmodernFriedrichscholarship,[23]andbytheSymbolist
painters,whovaluedhisvisionaryandallegoricallandscapes.TheNorwegianSymbolistEdvardMunch
(18631944)wouldhaveseenFriedrich'sworkduringavisittoBerlininthe1880s.Munch's1899print
TheLonelyOnesechoesFriedrich'sRckenfigur(backfigure),althoughinMunch'sworkthefocushas
shiftedawayfromthebroadlandscapeandtowardthesenseofdislocationbetweenthetwomelancholy
figuresintheforeground.[73]
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Friedrich'slandscapesexercisedastronginfluenceonthework
ofGermanartistMaxErnst(18911976),andasaresultother
SurrealistscametoviewFriedrichasaprecursortotheir
movement.[23]In1934,theBelgianpainterRenMagritte(1898
1967)paidtributeinhisworkTheHumanCondition,which
directlyechoesmotifsfromFriedrich'sartinitsquestioningof
perceptionandtheroleoftheviewer.[74]Afewyearslater,the
SurrealistjournalMinotaurefeaturedFriedrichina1939article
bycriticMarieLandsberger,therebyexposinghisworktoafar
widercircleofartists.TheinfluenceofTheWreckofHope(or
EdvardMunch,TheLonelyOnes
TheSeaofIce)isevidentinthe194041paintingTotesMeerby
(1899).Woodcut.MunchMuseum,
Oslo
PaulNash(18891946),aferventadmirerofErnst.[75]
Friedrich'sworkhasbeencitedasaninspirationbyothermajor
20thcenturyartists,includingMarkRothko(190370),[76]
GerhardRichter(b.1932),[77][78]GotthardGraubner[79][80][81][82]andAnselmKiefer(b.1945).[83]
Friedrich'sRomanticpaintingshavealsobeensingledoutbywriterSamuelBeckett(190689),who,
standingbeforeManandWomanContemplatingtheMoon,said"ThiswasthesourceofWaitingfor
Godot,youknow."[84]
Inhis1961article"TheAbstractSublime",originallypublished
inARTnews,thearthistorianRobertRosenblumdrew
comparisonsbetweentheRomanticlandscapepaintingsofboth
FriedrichandTurnerwiththeAbstractExpressionistpaintingsof
MarkRothko.RosenblumspecificallydescribesFriedrich's1809
paintingTheMonkbytheSea,Turner'sTheEveningStar[85]and
Rothko's1954Light,EarthandBlue[86]asrevealingaffinitiesof
visionandfeeling.AccordingtoRosenblum,"Rothko,like
FriedrichandTurner,placesusonthethresholdofthose
shapelessinfinitiesdiscussedbytheaestheticiansoftheSublime.
ThetinymonkintheFriedrichandthefisherintheTurner
establishapoignantcontrastbetweentheinfinitevastnessofa
pantheisticGodandtheinfinitesmallnessofHiscreatures.Inthe
abstractlanguageofRothko,suchliteraldetailabridgeof
empathybetweentherealspectatorandthepresentationofa
transcendentallandscapeisnolongernecessaryweourselves
arethemonkbeforethesea,standingsilentlyand
contemplativelybeforethesehugeandsoundlesspicturesasif
wewerelookingatasunsetoramoonlitnight."[87][88]
PaulNash,TotesMeer(Seaofthe
Dead),194041.101.6x152.4cm.
TateGallery.Nash'sworkdepictsa
graveyardofcrashedGermanplanes
comparabletoTheSeaofIce(above).
Nashdescribedtheimageasasea,
evensuggestingthatthejaggedforms
werenotmetalbutice. [75]
Criticalopinion
Until1890,andespeciallyafterhisfriendshaddied,Friedrich'sworklayinnearoblivionfordecades.
Yet,by1890,thesymbolisminhisworkbegantoringtruewiththeartisticmoodoftheday,especially
incentralEurope.However,despitearenewedinterestandanacknowledgmentofhisoriginality,his
lackofregardfor"painterlyeffect"andthinlyrenderedsurfacesjarredwiththetheoriesofthetime.[89]
Iamnotsoweakas
tosubmittothe
demandsoftheage
Duringthe1930s,Friedrich'sworkwasusedinthepromotionof
Naziideology,[91]whichattemptedtofittheRomanticartist
withinthenationalisticBlutundBoden.[7]Ittookdecadesfor
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5/25/2016
whentheygoagainst
myconvictions.Ispin
acocoonaround
myselfletothersdo
thesame.Ishall
leaveittotimeto
showwhatwillcome
ofit:abrilliant
butterflyormaggot.
Friedrich'sreputationtorecover
fromthisassociationwithNazism.
Hisrelianceonsymbolismandthe
factthathisworkfelloutsidethe
narrowdefinitionsofmodernism
contributedtohisfallfromfavour.
In1949,arthistorianKenneth
ClarkwrotethatFriedrich
"workedinthefrigidtechniqueof
[90]
histime,whichcouldhardly
CasparDavidFriedrich
inspireaschoolofmodern
painting",andsuggestedthattheartistwastryingtoexpressinpainting
whatisbestlefttopoetry.[89][92]Clark'sdismissalofFriedrichreflected
thedamagetheartist'sreputationsustainedduringthelate1930s.[89]
IvanShishkin,IntheWild
North(1891).161x118cm.
KievMuseumofRussianArt
Friedrich'sreputationsufferedfurtherdamagewhenhisimagerywas
adoptedbyanumberofHollywooddirectors,suchasWaltDisney,built
ontheworkofsuchGermancinemamastersasFritzLangandF.W.
Murnau,withinthehorrorandfantasygenres.[93]Hisrehabilitationwasslow,butenhancedthroughthe
writingsofsuchcriticsandscholarsasWernerHofmann,HelmutBrschSupanandSigridHinz,who
successfullyrejectedandrebuttedthepoliticalassociationsascribedtohiswork,andplaceditwithina
purelyarthistoricalcontext.[93]Bythe1970s,hewasagainbeingexhibitedinmajorgalleriesacrossthe
world,ashefoundfavourwithanewgenerationofcriticsandarthistorians.
Today,hisinternationalreputationiswellestablished.HeisanationaliconinhisnativeGermany,and
highlyregardedbyarthistoriansandartconnoisseursacrosstheWesternWorld.Heisgenerallyviewed
asafigureofgreatpsychologicalcomplexity,andaccordingtoVaughan,"abelieverwhostruggledwith
doubt,acelebratorofbeautyhauntedbydarkness.Intheend,hetranscendsinterpretation,reaching
acrossculturesthroughthecompellingappealofhisimagery.Hehastrulyemergedasabutterfly
hopefullyonethatwillneveragaindisappearfromoursight".[94]
Work
Friedrichwasaprolificartistwhoproducedmorethan500attributedworks.[95]Inlinewiththe
Romanticidealsofhistime,heintendedhispaintingstofunctionaspureaestheticstatements,sohewas
cautiousthatthetitlesgiventohisworkwerenotoverlydescriptiveorevocative.Itislikelythatsomeof
today'smoreliteraltitles,suchasTheStagesofLife,werenotgivenbytheartisthimself,butwere
insteadadoptedduringoneoftherevivalsofinterestinFriedrich.[96]Complicationsarisewhendating
Friedrich'swork,inpartbecauseheoftendidnotdirectlynameordatehiscanvases.Hekeptacarefully
detailednotebookonhisoutput,however,whichhasbeenusedbyscholarstotiepaintingstotheir
completiondates.[95]
11/18
5/25/2016
OldHeroes'Graves,(1812),
49.5x70.5cm.Kunsthalle,
Hamburg.Adilapidated
monumentinscribed
"Arminius"invokesthe
Germanicchieftain,asymbol
ofnationalism,whilethefour
tombsoffallenheroesare
slightlyajar,freeingtheir
spiritsforeternity.Two
Frenchsoldiersappearas
smallfiguresbeforeacave,
loweranddeepinagrotto
surroundedbyrock,asif
TheCrossBesideTheBaltic
(1815),4533.5cm.
SchlossCharlottenburg,
Berlin.Thispaintingmarked
amoveawaybyFriedrich
fromdepictionsinbroad
daylight,andareturnto
nocturnalscenes,twilightand
adeeperpoignancyof
MoonriseOvertheSea
(1822).5571cm.Alte
Nationalgalerie,Berlin.
Duringtheearly1820s,
humanfiguresappearwith
increasingfrequencyinhis
paintings.Ofthisperiod,
LindaSiegelwrites,"the
importanceofhumanlife,
particularlyhisfamily,now
occupieshisthoughtsmore
andmore,andhisfriends
appearasfrequentsubjectsin
mood.[97]
hisart."[37]
fartherfromheaven.[58]
GraveyardunderSnow
(1826).3125cm.Museum
derbildendenKnste,
Leipzig.Friedrichsketched
memorialmonumentsand
sculpturesformausoleums,
reflectinghisobsessionwith
deathandtheafterlife.He
alsocreatedsomeofthe
funeraryartinDresden's
cemeteries.[98]
TheOakTreeintheSnow
(1829).7148cm.Alte
Friedrichwasoneofthefirst
artiststoportraywinter
landscapesasstarkanddead.
Hiswinterscenesaresolemn
andstillaccordingtotheart
historianHermannBeenken,
Friedrichpaintedwinter
scenesinwhich"nomanhas
yetsethisfoot".[51]
TheStagesofLife(Die
Lebensstufen(1835).
MuseumderBildenden
Knste,Leipzig.TheStages
ofLifeisameditationonthe
artist'sownmortality,
depictingfiveshipsatvarious
distancesfromtheshore.The
foregroundsimilarlyshows
fivefiguresatdifferentstages
oflife.[99]
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5/25/2016
TheGiantMountains(1830
35).72102cm.Alte
Friedrichsoughtnotjustto
exploretheblissful
enjoymentofabeautiful
view,asintheclassic
conception,butratherto
examineaninstantof
sublimity,areunionwiththe
spiritualselfthroughthe
SeashorebyMoonlight
(183536).134169cm.
Kunsthalle,Hamburg.His
final"blackpainting",
SeashorebyMoonlight,is
describedbyWilliam
Vaughanasthe"darkestofall
hisshorelines."[43]
contemplationofnature.[100]
Seealso
ListofGermanpainters
References
1.Gaddis,John(2002),TheLandscapeofHistory:HowHistoriansMapthePast,OxfordOxfordshire:Oxford
UniversityPress,ISBN0195066529
2.Vaughan1980,p.65
3.Murray2004,p.338
4.Vaughan2004,p.7
5.Duringan1834visittoDresdenquotedinVaughan2004,p.295
6.Miller,PhilipB.(Spring1974),"AnxietyandAbstraction:KleistandBrentanoonCasparDavidFriedrich",
ArtJournal33(3):205210,doi:10.2307/775783,JSTOR775783
7.ForsterHahn,Franoise(March1976),"RecentScholarshiponCasparDavidFriedrich",TheArtBulletin58
(1):113116,doi:10.2307/3049469,JSTOR3049469
8.PomeraniahadbeendividedbetweenSwedenandBrandenburgPrussiasince1648,andatthetimeofCaspar
David'sbirth,itwasstillpartoftheHolyRomanEmpire.Napoleonoccupiedtheterritoryin1806,andin
1815allofPomeraniapassedtoPrussiansovereignty.Johnston,Leppien&Monrad1999,p.12
9.Wolf2003,p.17
10.Thefamilywassubsequentlyraisedbytheirhousekeeperandnurse,"MutterHeide",whohadawarm
relationshipwithalloftheFriedrichchildren.
11.Vaughan2004,p.18
12.Siegel1978,p.8
13.Boime1990,p.512
14.Kent,Neil(2004),SouloftheNorth:aSocial,ArchitecturalandCulturalHistoryoftheNordicCountries,
17001940,London:ReaktionBooks,ISBN1861890672
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5/25/2016
15."CasparDavidFriedrichInstitut".cdfi.de.30April2012.Archivedfromtheoriginalon24April2014.
Retrieved13January2014.
16.Johnston,Leppien&Monrad1999,p.12
17.Siegel1978,p.7
18.Vaughan2004,p.26
19.Vaughan2004,p.29
20.Vaughan2004,p.48
21.Griffiths&Carey1994,p.206
22.Vaughan2004,p.41
26.Siegel1978,pp.4344
27.Siegel1978,pp.5556
28.Koerner,JosephLeo(2002).CasparDavidFriedrichandtheSubjectofLandscape.NewHavenandLondon:
YaleUniversityPress.p.47.ISBN9781861894397.
29.Vaughan1980,p.7
31.Vaughan1980,p.101
32.Vaughan2004,pp.165166
33.GermanLibraryofInformation.CasparDavidFriedrich:HisLifeandWork.NewYork:GermanLibraryof
Information,1940.3839.
34.Vaughan2004,pp.184185
36.BrschSupan1974,pp.4145
37.Siegel1978,p.114
38.Updike,John."InnerlichkeitandEigentmlichkeit(http://www.nybooks.com/articles/archives/1991/mar/07/in
nerlichkeitandeigentumlichkeit/)".TheNewYorkReviewofBooks,Volume38,Number5,7March1991.
Retrievedon22October2008.
39.Vaughan1980,p.66
40.Schmied1995,p.48
42.Schmied1995,p.44
43.Vaughan2004,pp.300302
44.Vaughan2004,pp.295296
45.Guillaud,128.OriginallyfromVaughan(1972).
47.Griffiths&Carey1994,pp.27,207
48.AlthoughtheFrenchsculptorDavidD'Angers,whovisitedFriedrichin1834,wasmovedbythedevotional
issuesexploredintheartist'scanvasses.HeexclaimedtoCarusin1834,"Friedrich!...Theonlylandscape
paintersofartosucceedinstirringupalltheforcesofmysoul,thepainterwhohascreatedanewgenre:the
tragedyofthelandscape."In:Grewe,Cordula."HeavenonEarth:CordulaGreweonCasparDavidFriedrich".
ArtforumInternational,Vol.44,No.9,May2006.133.
49.Mitchell,Timothy(September1984),"CasparDavidFriedrich'sDerWatzmann:GermanRomanticLandscape
PaintingandHistoricalGeology",TheArtBulletin66(3):452464,doi:10.2307/3050447,JSTOR3050447
50.Prettejohn,Elizabeth(2005).Beauty&Art,17502000.Oxford:OxfordUniversityPress,pp.5456.ISBN
0192801600.
51.Beenken,Hermann(April1938),"CasparDavidFriedrich",TheBurlingtonMagazineforConnoisseurs72
(421):171175,JSTOR867281
52.AcademicAmericanEncyclopedia,Danbury:Grolier,1989,p.332,ISBN0717220249
53.Boime1990,p.601
54.QuotedinBrschSupan1974,pp.78
55.Larisey,Peter.LightforaColdLand:LawrenHarris'sLifeandWork.Dundurn,1993.14.ISBN155002
1885
56.Johnston,Leppien&Monrad1999,pp.114,117119
57.BrschSupan,Helmut(September1972),"CasparDavidFriedrich'sLandscapeswithSelfPortraits",The
BurlingtonMagazine114(834):620630,JSTOR877126
14/18
5/25/2016
58.Siegel,Linda(Spring1974),"SynaesthesiaandthePaintingsofCasparDavidFriedrich",TheArtJournal33
(3):196204,JSTOR775782
59.Kuzniar,Alice(1989),"TheTemporalityofLandscape:RomanticAllegoryandC.D.Friedrich",Studiesin
Romanticism28(1):6993,doi:10.2307/25600760,ISSN00393762,JSTOR25600760
60.BrschSupan1974,pp.84
61.Hughes,Robert."Forceofnature(http://www.guardian.co.uk/artanddesign/2005/jan/15/art)".TheGuardian,
January15,2005.RetrievedonNovember20,2008.
62."TheAwestruckWitness".TimeMagazine(http://www.time.com/time/magazine/article/0,9171,9089261,00.ht
ml),(28October1974),accessed19November2008
63.Vaughan1980,p.68
64.Siegel1978,p.121
65.BrschSupan1974,p.11
66.Vaughan1980,p.64
67.Hisletters,however,containhumourandselfirony,whilethenaturalphilosopherGotthilfHeinrichvon
SchubertwrotethatFriedrich"wasindeedastrangemixtureoftemperament,hismoodsrangingfromthe
gravestseriousnesstothegayesthumour...ButanyonewhoknewonlythissideofFriedrich'spersonality,
namelyhisdeepmelancholicseriousness,onlyknewhalftheman.Ihavemetfewpeoplewhohavesuchagift
fortellingjokesandsuchasenseoffunashedid,providingthathewasinthecompanyofpeopleheliked."
QuotedinBrschSupan1974,pp.16.
68.Dahlenburg&Carsten2005,p.112
69.Lddemann,Stefan."GlimpsesofMysteryInaSeaofFog.EssensFolkwangMuseumreinterpretsCaspar
DavidFriedrich(http://www.atlantictimes.com/archive_detail.php?recordID=495)".TheAtlanticTimes
(Germany),May2006.Retrievedon27November2008.
70.KleistwasthefirstmemberoftheRomanticmovementtodiscussFriedrichinprint.See:Siegel,Linda.
71.ThesceneisanallusiontoActV,scene3ofKleist'sDieHermannsschlacht.Siegel1978,pp.8788.See
also:Siegel,Linda."SynaesthesiaandthePaintingsofCasparDavidFriedrich".ArtJournal,Vol.33,No.3,
Spring1974.196204.
72.Epstein,SuzanneLatt(1964),TheRelationshipoftheAmericanLuministstoCasparDavidFriedrich,New
York:ColumbiaUniversity,OCLC23758262
75.Causey,Andrew(1980),PaulNash,Oxford:ClarendonPress,p.315,ISBN0198173482
77.DietmarElger,GerhardRichter:ALifeinPainting(https://books.google.com/books?id=L4W94WppSkC&p
g=PA173&lpg=PA173#v=onepage&q&f=false)(Chicago:UniversityofChicagoPress,2009),pp.17378.
78."FromCasparDavidFriedrichtoGerhardRichter:GermanPaintingsfromDresden(http://www.getty.edu/art/
exhibitions/friedrich_richter/)".J.PaulGettyMuseum,2007.Retrieved17August2012.
79.AccordingtoWernerHofmann,bothGraubnerandFriedrichcreatedanaestheticsofmonotonyasa
counterparttotheaestheticsofvarietythatwaspredominantbeforethenineteenthcentury.See"Kissenkunst,
zerrisseneRealitt",DieZeit,19December1975.(http://www.zeit.de/1975/52/kissenkunstzerrissenerealitae
t/seite2)
80.RaumderStilleimLandtagNordrheinWestfalen(https://www.landtag.nrw.de/portal/WWW/GB_II/II.1/OeA/
Publikationen/Broschuere/Landtag_NRW_Raum_der_Stille_scr.pdf)
81.SabineSchtz,"ColorSpaceBodies:TheArtofGotthardGraubner",ArtsMagazine,Volume65,April1991,
pp.4953.
82.AmineHaase,AndreasVowinckelandStephanvonWiese,MichaelButhe&MarcelOdenbach,exh.cat.,
WalterPhillipsGallery,22September16October1983,p.3.
83.Alteveer,Ian."AnselmKiefer(Born1945)(http://www.metmuseum.org/toah/hd/kief/hd_kief.htm)"In
HeilbrunnTimelineofArtHistory.MetropolitanMuseumofArt,October2008.Retrieved16November
2008.AltveermentionsaspecificphotographbyKieferinspiredbyWandererabovetheSeaofFog.
84.Leach,Cristin."OldRomanticsTugattheHeart(http://www.helnweinmuseum.com/article3453.html)".The
SundayTimes,24October2004.Retrievedon16November2008.
85.ReproductionofTurner'sTheEveningStarhere[1](http://www.nationalgallery.org.uk/paintings/josephmallo
rdwilliamturnertheeveningstar)".NationalGallery,London.RetrievedonNovember21,2008.
86.Seealso,Geldzahler(1969),353.ReproductionoftheRothkocanbefoundhere[2](http://www.angelartho
use.com/oil_paintings_artists/r/RothkoMark/Light_Earth_and_Blue_1954.htm).
87.Rosenblum,Robert."TheAbstractSublime".Reprintedin:Geldzahler,Henry.NewYorkPaintingand
15/18
5/25/2016
Sculpture:19401970.MetropolitanMuseumofArt,Exhibitioncatalog,1969.LibraryofCongresscard
catalognumber7187179.353
88.Rosenblumgoesontosay,"Likethemystictrinityofsky,waterandearththat,intheFriedrichandTurner
appearstoemanatefromonesource,thefloatinghorizontaltiersofveiledlightintheRothkoseemtoconceal
atotal,remotepresencethatwecanonlyintuitandneverfullygrasp.Theseinfiniteglowingvoidscarryus
beyondreasontotheSublimewecanonlysubmittotheminanactoffaithandletourselvesbeabsorbedinto
theirradiantdepths."
89.Vaughan,William(September1991),"Reviewedwork(s):CasparDavidFriedrichinseinerZeit:
ZeichnungendesRomantikunddesBiedermeierbyHansDickelTheRomanticVisionofCasparDavid
Friedrich+PaintingandDrawingsfromtheUSSRbySabineRewaldCasparDavidFriedrichandthe
SubjectofLandscapebyJosephLeoKoerner",TheBurlingtonMagazine133(1062):626628,
JSTOR884854
90.Russell,John."Artborninthefullnessofage(http://query.nytimes.com/gst/fullpage.html?res=9B0DE6D814
3BF930A1575BC0A961948260&sec=&spon=&pagewanted=all)".TheNewYorkTimes,23August1987.
Retrievedon25October2008.
91.Vaughan2004,pp.219224
92.Clark,Kenneth(2007),LandscapeintoArt,GibbPress,p.72,ISBN1406728241
93.Vaughan2004,pp.325326
95.Siegel1978,p.3
96."CasparDavidFriedrichinventingromanticism(http://www.designboom.com/history/friedrich.html)".
designboom.com.Retrievedon21October2008.
98.Wolf2003,p.45
99.Wolf2003,p.12
100.Siegel1978,p.62
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Wolf,Norbert(2003),CasparDavidFriedrich,Kln:Taschen,ISBN3822822930
Externallinks
CasparDavidFriedrichFoundation(http://www.casparda
vidfriedrichgesellschaft.de/index.htm)
CasperDavidFriedrichBiography,StyleandArtworks(htt
p://www.artble.com/artists/caspar_david_friedrich)
HermitageMuseumArchive(http://www.hermitagemuseu
m.org/html_En/04/2003/hm4_2_046.html)
CasparDavidFriedrichinhistoricEuropeannewspapers(h
ttp://www.theeuropeanlibrary.org/tel4/newspapers/search?q
uery=%22Caspar%20David%20Friedrich%22&offset=20)
CasparDavidFriedrich.org(http://www.caspardavidfriedrich.or
g)89paintingsbyCasparDavidFriedrich
Biographicaltimeline,HamburgKunsthalle(http://www.hamb
urgerkunsthalle.de/friedrich/html/en_biographie.html)
CasparDavidFriedrichandtheGermanromanticlandscape(ht
tp://www.kunstpedia.com/articles/caspardavidfriedrichandth
egermanromanticlandscape.html)
"Friedrich,KasparDavid".NewInternationalEncyclopedia.
1905.
Germanmastersofthenineteenthcentury:paintingsand
drawingsfromtheFederalRepublicofGermany(http://libmm
a.contentdm.oclc.org/cdm/compoundobject/collection/p15324c
oll10/id/71300),afulltextexhibitioncatalogfromThe
MetropolitanMuseumofArt,whichcontainsmaterialon
CasparDavidFriedrich(no.2936)
WikimediaCommonshas
mediarelatedtoCaspar
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Wikiquotehasquotations
relatedto:CasparDavid
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Externalvideo
Friedrich'sTheLoneTree(htt
p://smarthistory.khanacademy.org/
friedrichthelonetree.html)
Friedrich'sWomanata
Window(http://smarthistory.khan
academy.org/friedrichwomanata
window.html)
Friedrich'sAWalkatDusk(ht
tp://smarthistory.khanacademy.or
g/friedrichsawalkatdusk.html),
allfromSmarthistory
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GermanLutherans PeoplefromSwedishPomerania UniversityofGreifswaldalumni

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