Caspar David Friedrich | |
|---|---|
 | |
| Born | 5 September 1774 |
| Died | 7 May 1840 (aged 65) |
| Nationality | German |
| Known for | Painting |
| Notable work |
|
| Movement | Romanticism |
| Signature | |
 | |
Caspar David Friedrich (German: [ˌkaspaʁ ˌdaːvɪt ˈfʁiːdʁɪç] ; 5 September 1774 – 7 May 1840) was a German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his allegorical landscapes, which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".[1]
Friedrich was born in the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania. He studied in Copenhagen 1794-1798, before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner and John Constable sought to depict nature as a "divine creation, to be set against the artifice of human civilization".[2]
Friedrich's work brought him renown early in his career. Contemporaries such as the French sculptor David d'Angers spoke of him as having discovered "the tragedy of landscape". His work nevertheless fell from favour during his later years, and he died in obscurity.[3] As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as products of a bygone age.
The early 20th century brought a renewed appreciation of his art, beginning in 1906 with an exhibition of thirty-two of his paintings in Berlin. His work influenced Expressionist artists and later Surrealists and Existentialists. The rise of Nazism in the early 1930s saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, seen as promoting German nationalism. In the late 1970s Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance. His work has been brought together in a major exhibition in Germany in 2024 under the title "Infinitive Landscapes", which refers to the philosopher Friedrich Schleiermacher, who was important to Friedrich and whose mathematics of infinity found its way into Friedrich's geometrically constructed paintings as hyperbolas and the golden ratio.[4] In 2025, the Metropolitan Museum of Art in New York will also show an exhibition on Caspar David Friedrich under the title "Caspar David Friedrich: The Soul of Nature."
- ^ Murray 2004, p. 338.
- ^ Vaughan 2004, p. 7.
- ^ Miller 1974, pp. 205–210.
- ^ [1], "The Man Who Could Paint Loneliness". The New Yorker accessed 4 July 2024.