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.
The Abbey in the Oakwood The Abbey in the Oakwood (1808?C10). 110.4 ?? 171 cm. Alte Nationalgalerie, Berlin. This painting has been described as like "a scene from a horror movie, it [forebears] all the Gothic clich??s of the late 18th and early 19th centuries".
Paul Nash, Totes Meer Paul Nash, Totes Meer (Sea of the Dead), 1940?C41. 101.6 x 152.4 cm. Tate Gallery. Nash's work depicts a graveyard of crashed German planes comparable to The Sea of Ice (above). Nash described the image as a sea, even suggesting that the jagged forms were not metal but ice
Ivan Shishkin, In the Wild North Painting ID:: 58871
Old Heroes Graves Old Heroes' Graves, (1812), 49.5 x 70.5 cm. Kunsthalle, Hamburg. A dilapidated monument inscribed "Arminius" invokes the Germanic chieftain, a symbol of nationalism, while the four tombs of fallen heroes are slightly ajar, freeing their spirits for eternity. Two French soldiers appear as small figures before a cave, lower and deep in a grotto surrounded by rock, as if farther from heaven.
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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