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Caspar David Friedrich Seashore by Moonlight Seashore by Moonlight (1835?C36). 134 ?? 169 cm. Kunsthalle, Hamburg. His final "black painting", Seashore by Moonlight, is described by William Vaughan as the "darkest of all his shorelines
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Caspar David Friedrich The Wanderer above the Mists 1817-18 Oil on canvas, 94,8 x 74,8 cm Kunsthalle, Hamburg In this painting Friedrich shows a lonely figure confronting nature in astonished reverence. Friedrich's figures who habitually turn their backs to gaze into the horizon or stare from windows with rapt attention are images of the artist. His Wanderer, frock-coated and stick in hand, has climbed to a rocky peak above swirling mountain mists; the viewer looks with his eyes, the angle of vision being exactly aligned to their level in the picture space. The foreground, the conventional plateau to give the viewer a fix on the subject, has been entirely dispensed with. Listen to Franz Schubert's Wanderer Fantasy, a piano piece composed in the same Romantic spirit as manifested by Friedrich's painting
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Caspar David Friedrich Self-Portrait 420 x 276 mm Statens Museum for Kunst, Copenhagen Author: FRIEDRICH, Caspar David Title: Self-Portrait Form: graphics , 1801-1850 , German , portrait
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Caspar David Friedrich Mother Heiden 1798-1802 Black chalk Pommersches Landesmuseum, Greifswald Author: FRIEDRICH, Caspar David Title: Mother Heiden Form: graphics , 1801-1850 , German , portrait
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Caspar David Friedrich Adolf Gottlieb Friedrich Reading 1802 Black chalk, 346 x 320 mm Kunsthalle, Mannheim This drawing represents the father of the artist. Author: FRIEDRICH, Caspar David Title: Adolf Gottlieb Friedrich, Reading Form: graphics , 1801-1850 , German , portrait
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Caspar David Friedrich Cross in the Mountains 1805-06 Pencil and sepia, 640 x 931 mm Staatliche Museen, Berlin Author: FRIEDRICH, Caspar David Title: Cross in the Mountains Form: graphics , 1801-1850 , German , landscape
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Caspar David Friedrich Woman before the Rising Sun 1818-20 Oil on canvas, 22 x 30 cm Museum Folkwang, Essen In 1818, at the age of 44, Friedrich married Caroline Brommer, a cheerful 25 years old Saxon woman. That Caroline was a positive influence on the artist, which is evidenced by the fact that, from this point on, women appear with greater frequency in his work. A new, friendly element seems to enter his pictures. A case in point is the painting to which some authors give the title Woman before the Rising Sun, and which others call Woman before the Setting Sun. The woman seen in rear view appears as a large silhouette against the intense reddish-yellow of the sky. It is difficult to interpret the fervent gesture of her outstretched arms and the stylised rays radiating from the mountains on the hazy horizon, heralding the presence of the invisible sun. Caroline was probably the model for the female figure in old-German dress. Since she is stepping towards the light like an early Christian in prayer, some have sought to interpret the painting in terms of a communion with nature. On the other hand, the atmosphere evoked in Friedrich's painting might be interpreted as that of dusk, the path which terminates so abruptly as an announcement of death, and the boulders scattered alongside the path as symbols of faith. In the final analysis, few of Friedrich's pictures are as emphatic and almost exaggeratedly symbolic in their effect - factors which render the painting not unproblematic for the viewer. Artist: FRIEDRICH, Caspar David Title: Woman before the Rising Sun (Woman before the Setting Sun) , painting Date: 1801-1850 German : landscape
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Caspar David Friedrich The Watzmann 1824-25 Oil on canvas, 135 x 170 cm Nationalgalerie, Berlin Throughout his life, Friedrich demonstrated himself to be closely attached to his home. His numerous trips and walking tours to central Germany, Silesia, Bohemia, Greifswald, Neubrandenburg and Regen never actually took him very far away. He never visited southern Germany, for example, and his painting of The Watzmann - a mountain near Berchtesgaden, portrayed here rising like a Gothic cathedral in its stone majesty - was inspired by a watercolour by his pupil August Heinrich. It also rivalled a painting by Adrian Ludwig Richter of the same title, which went on show in Dresden in 1824 and was intended to back up Richter's application for the professorship in landscape painting at the Academy, the post to which Friedrich also aspired. Despite its apparent fidelity to nature, the painting reveals a somewhat fantastical element in its mixture of different geological formations and its unnatural ratios of scale. Artist: FRIEDRICH, Caspar David Title: The Watzmann , painting Date: 1801-1850 German : landscape
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Caspar David Friedrich The wanderer above the sea of fog Oil on canvas
98 x 74 cm (38.58 x 29.13 in)
1818
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Caspar David Friedrich Caspar David Friedrich Oil Painting by Caspar David Friedrich
November 1810
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Caspar David Friedrich LandscapewithTempleinRuin Oil painting by Caspar David Friedrich
1797
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Caspar David Friedrich Portrait of Friedrich s Father Oil painting by Caspar David Friedrich.
October 1808
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Caspar David Friedrich ReefsbytheSeashore Oil painting by Caspar David Friedrich
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Caspar David Friedrich Seashore with Shipwreck by Moonlight Seashore with Shipwreck by Moonlight, oil painting by Caspar David Friedrich
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Caspar David Friedrich Der Abend Oil painting
22 X 30.5 cm (8.7 X 12.0 in)
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Caspar David Friedrich View of the Baltic View of the Baltic, oil painting by Caspar David Friedrich
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Caspar David Friedrich Watzmann by Friedrich Oil painting by Caspar David Friedrich
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Caspar David Friedrich Wreck in the Moonlight Wreck in the Moonlight, oil painting by Caspar David Friedrich
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Caspar David Friedrich monk by the sea 1809
oil on canvas 110x171.5cm
se
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Caspar David Friedrich Mountain Peak with Drifting Clouds oil on canvas painting by Caspar David Friedrich
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Caspar David Friedrich
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1774-1840 Caspar David Friedrich Locations German painter, studied art at Copenhagen, and in 1798 settled in Dresden. Friedrich painted chiefly landscapes and seascapes, with and without figures, architectural pictures, including a few of Dresden, and some religious subjects. Religious feeling and symbolism permeate his œuvre, of which the seascape with figures, Die Lebensstufen, is a characteristic example. He possessed considerable power to convey mood in landscape. Almost forgotten in the 19th c. and early 20th c., interest in his work increased considerably in the mid-20th c. He is hardly represented in Britain, but an exhibition of 112 of his pictures at the Tate Gallery in 1972 attracted much attention. F. G. Kersting was a friend of Friedrich.
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