Caspar David Friedrich
Bereits mit 16 Jahren hatte Caspar David Friedrich in Greifswald Unterricht bei dem Universitätszeichenlehrer Quistorp. Der frühe Einfluss blieb prägend. Sein Lehrer wies ihn auf die Naturschönheiten seiner heimatlichen Umgebung hin. Friedrich studierte von bis in Kopenhagen an der Königlichen Kunstakademie, u. a. bei N. Abildgaard und J. Juel. Danach siedelte er nach Dresden über, das Zeit seines Lebens sein Wohnsitz blieb. Dort lebten auch der Maler und Graphiker Philipp Otto Runge sowie die Maler Georg Friedrich Kersting und Johan Christian Dahl aus Norwegen, mit denen Friedrich zusammen mit den beiden Dichtern Ludwig Tieck und Friedrich von Hardenberg (Novalis) ein künstlerisch-literarisches Zentrum der Romantik ausmachten.
In seiner Dresdener Zeit probierte er erstmals die Ölmalerei aus, zuvor wandte er ausschließlich die Sepiatechnik an. stellte er seine Werke auf der Ausstellung der Kunstakademie aus. Von Goethe gefördert zogen seine Bilder erstmals die Aufmerksamkeit eines größeren Publikums auf sich, darunter zählte dann auch ab dem Jahr der spätere Kaiser von Russla
THE ART BOG
Caspar David Friedrich (–) was a seminal figure in 19th-century German Romanticism, a movement that sought to emphasize emotion and individualism, often through a deep appreciation of nature, history, and mysticism. Born on September 5, , in Greifswald, then part of Swedish Pomerania, Friedrich&#;s early life was marked by personal tragedies, including the loss of his mother when he was just seven, and later, the death of his brother. These events profoundly influenced his outlook and subsequently, his art, imbuing it with a sense of melancholy and introspection.
Friedrich began his formal artistic education at the University of Greifswald and later continued at the Copenhagen Academy. His studies laid the foundation for his unique style, which combined precise observation of nature with a deep philosophical and spiritual underpinning.
Friedrich&#;s landscapes are not mere representations of the natural world but are imbued with symbolic meaning, often exploring themes of mortality, transcendence, and the divine.
One of Friedrich&#;s most iconic works, &#;Wanderer above the Sea of Fog&#; (c. ), epitomizes the Romantic ideals of the sublime and the
Caspar David Friedrich ( – )
Caspar David Friedrich is the leading Romantic landscape painter. He was born in Greifswald on 5 September , the sixth of ten children, all of whom came into the world in the house of the Greifswald soap-boiler Gottlieb Adolf Friedrich and his wife Sophie Dorothea née Bechly.
Caspar David’s childhood was overshadowed by the early deaths of his mother and two of his siblings.
From Caspar David studied with Johann Gottfried Quistorp, who taught drawing at the University of Greifswald and who did much to promote his student’s career. Caspar David continued his studies at the Copenhagen Academy of Fine Arts, before settling in Dresden in He remained in Dresden until his death on 7 May
Even after Caspar David Friedrich had settled in Dresden, he continued to be drawn back to Greifswald and the surrounding area, which he visited on frequent occasions. His close and abiding affinity with the scenery of north Germany and with his home town of Greifswald left an lasting impression on his character and on his art.
His evocative landscapes, with their thought-provoking imagery and compositional detail, have come to symbolize the Romantic movem
Caspar David Friedrich Biography In Details
Friedrich's first major painting came at the age of The Cross in the Mountains, now known as the The Tetschen Altar (Gemäldegalerie, Dresden), was an altarpiece panel exhibited in The work met with controversy, but it was his first painting to gain wide appraisal; for the first time in Christian art, a pure landscape was the panel of an altarpiece. It depicts the crucified Christ in profile at the top of a mountain, alone, surrounded by nature. The cross rises highest in the composition, but is viewed obliquely and at a distance. The mountain symbolizes an immovable faith, while the fir trees represent hope. The artist and critic Basilius von Ramdohr published a lengthy article rejecting Friedrich's use of landscape in such a context; he wrote that it would be "a veritable presumption, if landscape painting were to sneak into the church and creep onto the altar". Rahmdohr was fundamentally asking whether a pure landscape painting could convey an explicit meaning.
Friedrich's friends publicly defended him, and the artist wrote a programme providing his interpretation of the picture. In his commentary on
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