작품감상 독일 낭만주의 화가 - Caspar David Friedrich

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Self-portrait

Caspar David Friedrich
German Romantic painter, etcher, watercolorist & draftsman
(1774-1840)

The Wanderer above the Mists, 1817-18
Wanderer above the Sea of Fog (1818). 94.8 × 74.8 cm, Kunsthalle Hamburg.
This well-known and especially Romantic masterpiece was described
by the writer John Lewis Gaddis as leaving a contradictory impression,
"suggesting at once mastery over a landscape and the insignificance of the individual within it.
We see no face, so its impossible to know whether the prospect facing the young man is exhilarating,
or terrifying, or both."

Caspar David Friedrich(September 5, 1774 – May 7, 1840) was a 19th-century German Romantic landscape painter, generally considered the most important of the movement. He is best known for his mid-period allegorical landscapes, which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist 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 work characteristically sets the human element 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".

Friedrich was born in the Swedish Pomeranian town of Greifswald, where he began his studies in art as a youth. Later, he studied in Copenhagen until 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 (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".

Friedrich’s work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". However, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip Miller, "half mad". 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 the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expression‎ists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again 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, misinterpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.

 From Wikipedia, the free encyclopedia

Woman before the Setting Sun, 1818-20 

Woman at a Window, 1822

Evening Landscape with Two Men, 1830-35

Evening Landscape with Two Men, 1830-35

Man and Woman Contemplating the Moon, 1824?
Man and Woman Contemplating the Moon (1830–35?). 34 × 44 cm. Alte Nationalgalerie, Berlin.
In this work, the artist depicts a couple gazing longingly at nature, in "Old German" clothes,
"scarcely different in tone or modelling from the deep dramas of nature around them".

Two Men Contemplating the Moon, 1819-20

Monk by the Sea, 1809 
  

The Monk by the Sea

(German: Der Mönch am Meer) is an oil painting by the German Romantic artist Caspar David Friedrich.  It was painted between 1808 and 1810 in Dresden and was first shown together with the painting The Abbey in the Oakwood (Abtei im Eichwald) in the Berlin Academy exhibition of 1810. On Friedrich's request The Monk by the Sea was hung above The Abbey in the Oakwood. After the exhibition both pictures were bought by king Frederick Wilhelm III for his collection. Today the paintings hang side by side in the Alte Nationalgalerie, Berlin.

Development

The picture appeared at a time when Friedrich had his first public success and critical acknowledgment with the controversial Tetschener Altar. The Monk by the Sea furthered his success and drew much attention.

Although Friedrich's paintings are landscapes, he designed and painted them in his studio, using freely drawn plein air sketches, from which he chose the most evocative elements to integrate into an expressive composition. The composition of The Monk by the Sea shows evidence of this reductive process, as Friedrich removed elements from the canvas after they were painted.

Friedrich had probably begun the painting in Dresden, 1808. In a letter of February 1809, he described the image for the first time. The stages in its conception were also documented by guests to his studio. In June 1809, a Frau von Kügelgen, an acquaintance of Friedrich, described the quiet sky of The Monk by the Sea. Recent scientific investigations have revealed that he had initially painted two small sailing ships on the horizon, which he later removed. Friedrich continued to make small changes to the details of the painting right up to its exhibition, but the basic composition always stayed the same.

Description
A single figure, dressed in a long garment and with his chin on one hand, stands on a low dune sprinkled with grass. The figure, usually identified as a monk, has turned almost completely away from the viewer and surveys a rough sea and a gray, blank sky that takes up about three quarters of the picture. It is unclear whether he is standing on a high rock or only on a gentle slope to the sea. The dune forms an inexpressive triangle in the composition, at the farthest point of which is the figure. Near the monk are 14 gulls, one sitting close to him on his right, and the others flying off away from him, also to the right.

Critical opinion
The monk by the sea looked disturbing to many viewers. Heinrich von Kleist concluded his essay Empfindungen zu Friedrichs Seelandschaft von Apokalypse und Uferlosigkeit with the words: "...so when one looks at it, it is as though one's eyelids were cut away". A satiric response, aimed less at the picture itself than at its beholders, was published a short time later by Clemens Brentano under the title Verschiedene Empfindungen vor einer Seelandschaft von Friedrich, worauf ein Kapuziner. In a piece purporting to represent many different points of view, Brentano makes puns such as "Ossian" and "ocean" or "aus dem Grauen des einen Betrachters, wird ein Grau des anderen" ("from the horror of one viewer, comes a grayness of the other")

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번역, 안한 것이 아니라 못한 것이랍니다. 영문이라도 없는 것보다는 도움이 되지요? ^^*
posted by Mizmor S린.

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19세기초 독일의 낭만주의를 개척한 화가...

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음악방에 누구 생각납니다 ,고마워요
스크렙해갈게요

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고맙습니다. .....