By Friedrich, Caspar David; Friedrich, Caspar David; Koerner, Joseph Leo
Caspar David Friedrich (1774–1840) is heralded because the maximum painter of the Romantic stream in Germany, and Europe’s first actually smooth artist. His mysterious and depression landscapes, usually peopled with lonely wanderers, are experiments in a extensively subjective inventive perspective—one within which, as Freidrich wrote, the painter depicts no longer “what he sees sooner than him, yet what he sees inside him.” This vulnerability of the person whilst faced with nature turned one of many key tenets of the Romantic aesthetic.
Now to be had in a compact, obtainable structure, this fantastically illustrated e-book is the main entire account ever released in English of 1 of the main interesting and influential nineteenth-century painters.
“This is a version of interpretative artwork historical past, taking in a great deal of German Romantic philosophy, yet based consistently at the fast event of the image. . . . it really is infrequent to discover a student 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
This was the reactionary Gustav IV Adolf of Sweden, for Friedrich, the brave Norde, was born in Greifswald, in a part of Pomerania intermittently under Swedish rule from the Peace of Westphalia () to the Napoleonic invasion (). In contrast to Lilienstern’s tale of the altar being conceived by an enthusiastic patron, the letter of the Countess reveals the Cross in the Mountains to have been a work conceived by Friedrich himself to honour his king. The artist’s loyalty to the Swedish crown was probably inspired by Gustav’s specific politics and piety.
Dresden, where Friedrich had lived since , was the place where Gustav negotiated his alliance with England intermittently between and . Friedrich fervently opposed Napoleon and was so anti-French that in he refused to receive letters from his own brother Christian, who was travelling in Paris and Lyons. Friedrich would have thus celebrated his king’s diplomatic efforts in Dresden. Gustav was also a religious man deeply influenced by the evangelical theology of the Moravian Church.
They informed him that the altar would be set up in Prague, not Tetschen. When Friedrich then decided to travel to Prague, they gave him the slip again, and in the end he seems never to have seen his work in situ. What he would have seen was the Cross in the Mountains hung in Countess Maria Theresa’s bedroom, surrounded by smaller paintings and all the furnishings of domestic life. Today the work hangs in the Gemäldegalerie in Dresden, representing the continuing secularization of a religious image, which began when the work left the artist’s atelier.
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