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 move in Germany, was once might be Europe’s first actually sleek artist. His depression landscapes, usually peopled by means of lonely wanderers, characterize experiments in the direction of a substantially subjective artwork, one during which, as Friedrich wrote, the painter depicts no longer ‘what he sees ahead of him, yet what he sees inside him.’ but of their remarkable strength to trap the uniqueness of noticeable kinds Friedrich’s photos additionally settle for and convey the irredeemable otherness of Nature.

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

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

Example text

Romanticism inhabits this space between immense ambition and slight achievement, between hyperbolic aims and ever-reduced means. In answer to Schlegel’s letter, Novalis writes that the Bible should be ‘the     idea of every book’. Yet what the founders of Romanticism, such as Novalis and Schlegel, wrote in order to describe their project were usually only fragments. In the Athenaeum Fragments, the ‘Logologische Fragmente’, and even the letters exchanged between friends, the partializing form of the texts deliberately shapes the fragmentary nature of their theoretical content.

Novalis’s conversation with Tieck would have been, from this perspective, a ‘divinatory criticism’ of Friedrich, yet Schlegel’s account asserts that truly Romantic art is resistant to theory and criticism. Moreover, since it is never completed as object or event, and since indeed its completion would render it no longer Romantic, the art of Romanticism sets out partly to defy historical analysis. To reiterate, what is achieved by calling Friedrich’s landscapes romantic? Into what history can we inscribe his vision?

A project drawing for the work shows this original orientation (illus. ). When Friedrich first displayed his finished work in his atelier in Christmas , it apparently followed the arrangement shown in the sketch. One of Friedrich’s closest friends and supporters in Dresden, the Prussian General and military educator Johann Jacob O. A. Rühle von Lilienstern, wrote an account of this exhibition and its circumstances in     his epistolary Travels with the Army in the Year .

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