Caspar David Friedrich

November 20, 2020 | Posted by Peter Jakobsen | ART | 0 Comments |


The strictly religious Pomeranian created some of the greatest landscapes of land and mind, leaving, not a fashionable school of design, but a romantic legacy that has moved later generations, including (alas) modern artists who were unable to draw.  His bleak world-view is encapsulated in his paintings, and some of the scenes of desolation and ruin are oddly prescient.  He at times recalls Poussin, Lorrain, Corot, even Constable, but he adds true Germanic gloom, revealing and half concealing a world whilst giving the viewer the impression of being beyond it. He made landscape, as painter David d’Angers observed, a tragedy.

“Cross in the Mountains” (1807-08)

“The Monk on the Seashore” (1810)

“Moonrise Over the Sea” (1822)

“The Crows’ Tree” (1822)

“Winter Landscape” (1811)

“Village landscape in morning light” (1822)

File:Caspar David Friedrich - Felsenlandschaft im Elbsandsteingebirge (1822-23).jpg

“Rocky ravine in the Elbe Sandstone Mountains” (1822-23)

“The ‘Chasseuir’ in the Forest” (1814)

“Snow-Covered Hut” (1827)

“Ulrich von Hutten’s Grave” (1823)


“Dawn” (1830-35)

“Morning in the Riesengebirge” (1810-11)

“Ruin at Eldena” (1825)

“The Abbey in the Oakwood” (1810)

“A Man and a Woman Contemplate the Moon” (1830-35)

“Arctic Shipwreck” (1823-24)

“Monastery burial-ground under snow” (c. 1810s)

“Dolmen in the Snow” (1807)

File:Caspar David Friedrich 011.jpg

“The Dreamer” (c. 1835)

“Entrance to the Graveyard” (1825)

“The Wanderer before the Sea of Fog” (1818)



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