كاسپر ديڤيد فريدريش

Gerhard von Kügelgen, Portrait of Caspar David Friedrich (c. 1810–20)

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."

كاسپر ديڤيد فريدريش (5 سبتمبر, 1774 -سبعة مايو, 1840) هورسام مناظر طبيعية, الحركة الرومانسية الألمانية في القرن التاسع عشر, ويعتبر فريدريش بصفة عامة من أبرز رسامي الحركة. وقد كانت اولى إهتماماته الفنية التأمل في الطبيعة, 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".

الحياة

العائلة والسنوات الأولى

ولد فرديريش فيخمسة سبتمبر, 1774 في السويد في قرية Greifswald, على الضفة الألمانية لبحر البلطيق ، وبدأ دراساته في الفن صغيرا. فيما بعد, تفهم في كوبنهاجن إلى حتى إستقر في درسن.

The chalk drawing Self-portrait, 1800, which portrays the artist at 26 was completed while the artist was studying at the Royal Academy in Copenhagen. Royal Museum of Fine Arts, Copenhagen

الإنتنطق لدرسن

The Tetschen Altar, or The Cross in the Mountains (1807). 115 × 110.5 cm. Gemäldegalerie, Dresden. Friedrich's first major work, the piece breaks with the traditions of representing the crucifixion in altarpieces by depicting the scene as a landscape.

الزواج والنجاح

Chalk Cliffs on Rügen, (1818). 90.5 × 71 cm. Museum Oskar Reinhart am Stadtgarten, Winterthur, Switzerland. Friedrich married Christiane Caroline Bommer in 1818, and on their honeymoon they visited relatives in Neubrandenburg and Greifswald. This painting celebrates the couple's union.

الحياة المتأخرة والموت

Georg Friedrich Kersting, Caspar David Friedrich in his Studio (1819). 51 × 40 cm. Alte Nationalgalerie, Berlin. Kersting portrays an aged Friedrich holding a maulstick at his canvas.

مشروعات

المناظر الطبيعية والسامية

The Sea of Ice (1823–24), Kunsthalle Hamburg. This scene has been described as "a stunning composition of near and distant forms in an Arctic image".

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".

الوحدة والموت

The Abbey in the Oakwood (1808–10). 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 clichés of the late 18th and early 19th centuries".

الفلكلور الألماني

التراث

التأثير

Edvard Munch, The Lonely Ones, (1899). Woodcut. Munch Museum, Oslo

Paul Nash, Totes Meer (Sea of the Dead), 1940–41. 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.

رأي حاسم

"I am not so weak as to submit to the demands of the age when they go against my convictions. I spin a cocoon around myself; let others do the same. I shall leave it to time to show what will come of it: a brilliant butterfly or maggot."

—Caspar David Friedrich

Ivan Shishkin, In the Wild North (1891). 161 x 118 cm. Kiev Museum of Russian Art

أعماله

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.
The Cross Beside The Baltic (1815), 45 × 33.5 cm. Schloss Charlottenburg, Berlin. This painting marked a move away by Friedrich from depictions in broad daylight, and a return to nocturnal scenes, twilight and a deeper poignancy of mood.
Moonrise Over the Sea (1822). 55 × 71 cm. Alte Nationalgalerie, Berlin. During the early 1820s, human figures appear with increasing frequency in the paintings. Of this period, Linda Siegel writes, "the importance of human life, particularly his family, now occupies his thoughts more and more, and his friends appear as frequent subjects in his art."
Graveyard under Snow (1826). 31 × 25 cm. Museum der bildenden Künste, Leipzig. Friedrich sketched memorial monuments and sculptures for mausoleums, reflecting his obsession with death and the afterlife. He also created some of the funerary art in Dresden's cemeteries.
The Oak Tree in the Snow (1829). 71 × 48 cm. Alte Nationalgalerie, Berlin. Friedrich was one of the first artists to portray winter landscapes as stark and dead. His winter scenes are solemn and still—according to the art historian Hermann Beenken, Friedrich painted winter scenes in which "no man has yet set his foot".
The Stages of Life (Die Lebensstufen (1835). Museum der Bildenden Künste, Leipzig. The Stages of Life is a meditation on the artist's own mortality, depicting five ships at various distances from the shore. The foreground similarly shows five figures at different stages of life.
The Giant Mountains (1830–35). 72 × 102 cm. Alte Nationalgalerie, Berlin. Friedrich sought not just to explore the blissful enjoyment of a beautiful view, as in the classic conception, but rather to examine an instant of sublimity, a reunion with the spiritual self through the contemplation of nature.
Seashore by Moonlight (1835–36). 134 × 169 cm. Kunsthalle, Hamburg. His final "black painting", Seashore by Moonlight, is described by William Vaughan as the "darkest of all his shorelines."

إقتباسات

^ Gaddis, John Lewis. The Landscape of History: How Historians Map the Past. Oxford: Oxford University Press, 2004. 1. ISBN 0-1950-6652-9
^ Vaughan (1980), 65
^ Murray, 338
^ Kent, Neil. The Soul of the North: A Social, Architectural and Cultural History of the Nordic Countries, 1770–1940. Reaktion Books, 2001. 231. ISBN 1-8618-9067-2
^ Vaughan (2004), 203
^ Larisey, Peter. Light for a Cold Land: Lawren Harris's Life and Work. Dundurn, 1993. 14. ISBN 1-5500-2188-5
^ Hughes, Robert. "Force of nature". The Guardian, January 15 2005. Retrieved on November 20, 2008.
^ Boime, 601
^ خطأ استشهاد: وسم <ref> غير سليم؛ لا نص تم توفيره للمراجع المسماة causey
^ Russell, John. "Art born in the fullness of age". The New York Times, August 23, 1987. Retrieved on October 25, 2008.
^ Siegel, Linda. "Synaesthesia and the Paintings of Caspar David Friedrich". The Art Journal, Vol. 33, No. 3, Spring 1974. 196–204.
^ Vaughan (2004), 279
^ Siegel, 114
^ Wolf, 45
^ خطأ استشهاد: وسم <ref> غير سليم؛ لا نص تم توفيره للمراجع المسماة HB
^ Wolf, 12
^ Siegel, 62
^ خطأ استشهاد: وسم <ref> غير سليم؛ لا نص تم توفيره للمراجع المسماة V302

بيبيلوگرافيا

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Dahlenburg, Birgit & Carsten, Spitzer. "Major Depression and Stroke in Caspar David Friedrich". In Bougousslavsky, J. & Boller, F. (eds.), Neurological Disorders in Famous Artists. New York: Karger, c. 2005. ISBN 3-8055-7914-4.
Griffiths, Antony and Carey, Francis; German Printmaking in the Age of Goethe, 1994, British Museum Press, ISBN 0714116599 .
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Werner, Christoph. Um ewig einst zu leben. Caspar David Friedrich und Joseph Mallord William Turner. Weimar: Bertuch Verlag, 2006. ISBN 3-937601-34-1.
Wolf, Norbert. Friedrich. Cologne: Taschen, 2003. ISBN 3-8228-2293-0.