Large Enclosure o The Grosse Dehege near Dresden (1832). Friedrich was able to make these ideas largely a reality.”Ĭaspar David Friedrich. Joseph Leo Koerner, Professor of Art History and Architecture at Harvard University, in his analysis of the paintings of Caspar David Friedrich writes: “Romanticism created a heightened sensitivity to the natural world, combined with a belief in nature’s correspondence to the mind a passion for the equivocal, the indeterminate, the obscure and the faraway (objects shrouded in fog, a distant fire in the darkness, mountains merging with clouds, sea merging with the sky, etc.) a celebration of subjectivity bordering on solipsism, often coupled with a morbid desire that self be lost in nature’s various infinities an infatuation with death valorization of night over day, emblematizing a reaction against Enlightenment and rationalism a nebulous but all-pervading mysticism and a melancholy, sentimental longing or nostalgia which can border on kitsch. Friedrich was who mostly reflected this movement in painting.
It was the dominant intellectual movement of German-speaking countries in the late 18th and early 19th centuries, influencing philosophy, art and literature. Petersburgįriedrich’s paintings embody a range of tastes, beliefs and attitudes commonly associated with the historical movement termed German Romanticism. Friedrich expressed in his landscapes his own solitude, his own melancholy, a haunting reflection of a human being totally lonely, in front of an incomprehensible nature, a nature understood as a mystical experience This feeling, this attitude, the painter was able to fully transmit to the viewer of his paintings.įriedrich was a master of all transitions between the visible and the invisible which occur within a represented landscape: fog in the mountains and in the sea, fire in the night, the moons, the rising and the setting sun, the finite and the infinite.Ĭaspar David Friedrich. For him as for Romantic painters the value of a picture lies in its power to move its individual viewer. It is considered that the landscapes of the romantic German painter Caspar David Friedrich (1774- 1840) are perhaps one of the most consciously subjective works in the history of art. If he sees nothing within, he should not paint what he sees before him. The painter should not paint merely what he sees in front of him, but also what he sees within himself. Les formes geomètriq… on El disseny excèntric de Mackin… Les formes geomètriq… on Olafur Eliasson: L’artis… Un recorregut per la… on El disseny excèntric de Mackin… Un recorregut per la… on Un recorregut pels millors mos… La figura humana com la màxima expressió de l’art o reflex d’un narcisisme universal.L’escultura primigènia ibèrica captura l’ànima eterna de l’art.Sentia Picasso empatia pels desolats personatges que va pintar durant el Període Blau?.Did Picasso feel empathy for the desolate people he painted in the Blue Period?.Un recorregut per arquitectures pintades i ciutats invisibles.
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