By Joseph Leo Koerner
Caspar David Friedrich (1774-1840), the best painter of the Romantic move in Germany, used to be might be Europe’s first actually sleek artist. His depression landscapes, frequently peopled through lonely wanderers, characterize experiments in the direction of a notably subjective artwork, one within which, as Friedrich wrote, the painter depicts now not ‘what he sees earlier than him, yet what he sees inside him.’ but of their impressive energy to catch the distinctiveness of seen types Friedrich’s images additionally settle for and exhibit the irredeemable otherness of Nature.
Winner of the 1992 Mitchell Prize for the background of artwork, this compelling and hugely unique publication is now made to be had in a compact pocket structure. fantastically illustrated, Caspar David Friedrich and the topic of panorama is the main complete account ever released in English in this so much attention-grabbing of nineteenth-century masters.
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Additional info for Caspar David Friedrich and the Subject of Landscape (2nd Edition)
Reading the fragment is an historical enterprise, indeed is exemplary for historical consciousness per se, even when it is a fragment from the future. What, then, of the fragments from the past which are Caspar David Friedrich’s canvases? As we have seen, the alder thicket and fir grove assume, through their very title, the character of something wrested from a greater whole (illus. and ). The phrase ‘from the Dresden Heath’ recalls specifically a kind of title, or more often subtitle, cultivated by the German Romantics in which they claim for their short story, Märchen or novel, that it was taken ‘from an ancient tale’, ‘old chronicle’, etc.
Philipp Otto Runge, Friedrich’s only equal in Romantic landscape painting in Germany, wrote of Raphael’s work in : Is it not strange that we can feel our whole life clearly and distinctly when we see dense, heavy clouds running past the moon, now their Raphael, Sistine Madonna, –. Staatliche Kunstsammlungen, Gemäldegalerie, Dresden. edges gilded by the moon, now the moon swallowed entirely by their forms? It seems then to us as if we could write the story of our life in images such as these.
It might also alert us to the difficulties of using the term Romantic as historical explanation for an artist like Friedrich. More radically than any modern critical ‘discrimination’ of Romanticisms, the early German Romantics themselves claim to author only fragments of Romanticism. In the nd Fragment from the Athenaeum, Friedrich Schlegel writes: The project is the subjective kernel of an object in becoming. A complete project must be at once totally subjective and totally objective, an indivisible and living individual .