Caspar David Friedrich (German painter) 1774 - 1840
Ostermorgen (Easter Morning), ca. 1828-35
oil on canvas
43.7 x 34.4 cm.
Museo Thyssen-Bornemisza, Madrid, Spain
Friedrich's subject matter is drawn from nature but is not an objective vision of it. Rather, it is a mystic one, imbued with a symbolic character. His pictures often show figures seen from behind and contemplating the landscape.
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Caspar David Friedrich was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation.[2] 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 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".
Ostermorgen (Easter Morning), ca. 1828-35
oil on canvas
43.7 x 34.4 cm.
Museo Thyssen-Bornemisza, Madrid, Spain
Friedrich's subject matter is drawn from nature but is not an objective vision of it. Rather, it is a mystic one, imbued with a symbolic character. His pictures often show figures seen from behind and contemplating the landscape.
***
Caspar David Friedrich was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation.[2] 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 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".
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