The Cross Beside The Baltic
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The_Cross_Beside_The_Baltic The Cross Beside The Baltic (1815), 45 ?? 33.5 cm. Schloss Charlottenburg, Berlin. This painting marked a move away by Friedrich from depictions in broad daylight, and a return to nocturnal scenes, twilight and a deeper poignancy of mood
Moonrise Over the Sea
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Moonrise_Over_the_Sea Moonrise Over the Sea (1822). 55 ?? 71 cm. Alte Nationalgalerie, Berlin. During the early 1820s, human figures appear with increasing frequency in the paintings. Of this period, Linda Siegel writes, "the importance of human life, particularly his family, now occupies his thoughts more and more, and his friends appear as frequent subjects in his art."[
The Oak Tree in the Snow
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The_Oak_Tree_in_the_Snow The Oak Tree in the Snow (1829). 71 ?? 48 cm. Alte Nationalgalerie, Berlin. Friedrich was one of the first artists to portray winter landscapes as stark and dead. His winter scenes are solemn and still??according to the art historian Hermann Beenken, Friedrich painted winter scenes in which "no man has yet set his foot".
The Stages of Life
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CM
High Quality
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The_Stages_of_Life The Stages of Life (Die Lebensstufen (1835). Museum der Bildenden K??nste, Leipzig. The Stages of Life is a meditation on the artist's own mortality, depicting five ships at various distances from the shore. The foreground similarly shows five figures at different stages of life
The Giant Mountains
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CM
High Quality
Museum Quality
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$209
$209
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$389
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The_Giant_Mountains The Giant Mountains (1830?C35). 72 ?? 102 cm. Alte Nationalgalerie, Berlin. Friedrich sought not just to explore the blissful enjoyment of a beautiful view, as in the classic conception, but rather to examine an instant of sublimity, a reunion with the spiritual self through the contemplation of nature
Caspar_David_Friedrich 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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