By Friedrich, Caspar David; Friedrich, Caspar David; Koerner, Joseph Leo
Caspar David Friedrich (1774–1840) is heralded because the maximum painter of the Romantic circulate in Germany, and Europe’s first really smooth artist. His mysterious and depression landscapes, usually peopled with lonely wanderers, are experiments in a notably subjective inventive perspective—one during which, as Freidrich wrote, the painter depicts now not “what he sees ahead of him, yet what he sees inside of him.” This vulnerability of the person whilst faced with nature turned one of many key tenets of the Romantic aesthetic.
Now on hand in a compact, obtainable structure, this superbly illustrated ebook is the main entire account ever released in English of 1 of the main attention-grabbing and influential nineteenth-century painters.
“This is a version of interpretative artwork heritage, taking in a great deal of German Romantic philosophy, yet based consistently at the fast event of the image. . . . it truly is infrequent to discover a pupil so evidently in sympathy along with his subject.”—Independent
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Extra info for Caspar David Friedrich and the Subject of Landscape: Second Edition
Gottlieb Christian Kühn, distanced the work from the concerns and ambitions of contemporary landscape painting. In the symbolism of the ‘predella’ (wheat, grapevine, eye of God) and crowning arch (palm leaves, putti, star), they understood an allegorical directive for reading the painted scene thus enclosed, even if they disagreed on what exactly that framing allegory was. The ensemble’s character as altarpiece must have been indeed more apparent to these original viewers than it is to us today, for they were able to experience its intended orientation in space.
While the plot of this cycle leads to the Gothic cathedral, a sign both of divine presence and of an earlier kind of art that could embody divine presence, Friedrich fashions in his landscapes a different itinerary, one in which we dwell in all the intermediate spaces, where religion would be merely a remembered promise. ‘I lost the love of heaven above, I spurned the lust of earth below’, wrote the poet John Clare. To navigate this purgatory, where the artist fashions his works again as altars but must leave out the gods, is part of the historical project called Romanticism.
Clearly Novalis could not make them intelligible in conversation, nor did Friedrich know them before he made them real. Tieck insists that the artist realized them autonomously, through his unique genius. Friedrich’s Romanticism, therefore, is not a conscious adherence to a distinct project already understood by the Romantic ideology, but is the partial realization of ideas that previously had been by their very nature obscure and unintelligible. But then does this not describe the very function of the term ‘Romantic’ for the movement that bears this name?