Joseph Leo Koerner's Caspar David Friedrich and the Subject of Landscape (2nd PDF


By Joseph Leo Koerner

Caspar David Friedrich (1774-1840), the best painter of the Romantic circulation in Germany, used to be might be Europe’s first actually sleek artist. His depression landscapes, usually peopled by means of lonely wanderers, symbolize experiments in the direction of a considerably subjective paintings, one within which, as Friedrich wrote, the painter depicts no longer ‘what he sees sooner than him, yet what he sees inside of him.’ but of their striking strength to catch the uniqueness of obvious types Friedrich’s images additionally settle for and show the irredeemable otherness of Nature.

Winner of the 1992 Mitchell Prize for the historical past of paintings, this compelling and hugely unique e-book is now made to be had in a compact pocket layout. superbly illustrated, Caspar David Friedrich and the topic of panorama is the main complete account ever released in English in this such a lot attention-grabbing of nineteenth-century masters.

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Extra info for Caspar David Friedrich and the Subject of Landscape (2nd Edition)

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In Part III, ‘The Halted Traveller’, I shift focus again, from the historical viewer to the viewer in Friedrich’s pictures. The turned figure or     Rückenfigur who inhabits the foreground of so many of the artist’s landscapes, functions to infuse Friedrich’s art with a heightened subjectivity, and to characterize what we see as already the consequence of a prior experience. This visual conceit endows the picture with a complex temporal fabric. In our encounter with the Rückenfigur and his vision, we feel ourselves late, and therefore estranged, vis-à-vis the fullness of nature.

Wurttembergische Staatgalerie, Stuttgart.   Hill and Ploughed Field near Dresden, c. . Kunsthalle, Hamburg.   View from the Artist’s Atelier, Left Window, –. Kunsthistorisches Museum, Vienna.  4 The Non-Contemporaneity of the Contemporary Few paintings are as complexly located in the history of art as Friedrich’s large oil Cross in the Mountains (illus. ). Painted over a period from about January to December , the picture was the artist’s largest and most ambitious to date.

In Raphael’s canvas, Runge discerns a fragment from this future landscape art. While devoid of anything we might now call landscape, it mediates between the ‘well-known figure’ (the Virgin and Child with saints) and something more abstract and sublime, a ‘state of feeling’. Runge can observe this historical shift by reading Raphael’s canvas from foreground to background as if it were a landscape: from the two winged putti at the base, elements from the traditional repertoire of religious art, through the clouds that function as the scene’s miraculous ground, to the distance, where the clouds, transformed into an aureole of angels’ heads, harbour rarified ‘spirits’.

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