Photo: Elke Walford (Wander Details Above Fog. Hambarger Koncech, on a permanent loan from StifTung Hamburger Kunstammlungn, which was obtained 1970 (HK-5161).
You know the work of Caspar David Friedrich even if you don’t think you are doing it. Its classic natural scenery, prepared by individual individuals or small groups, adorn the metal albums, books of books and bedroom stickers. His art helped to inform the dreamer pictures of Fantasia Disney, and Samuel Picky said that two Moody men were thinking about the moon waiting for Judo. The impact of the existential masterpiece of 1817 can be seen over the sea of fog-which depicts a man in a dark coat with a cane that prepares over the valley of clouds, both of whom are the master of his field and completely isolation-in all of Edgar Alan Poe’s poetry to Severance TV to countless memes. Friedrich is the painter with a distinction of German romance but also a man for all times and places.
“The spirit of nature“With a new retroactive effect of nearly 40 Friedrich’s paintings and more than 30 of his drawings, the year represents 250 since the birth of the artist in 1774. There are many Frederich’s works in Europe, so this is a rare opportunity to evaluate him in a full. The navy, the wreckage of the ships, and the mountain horizons forced us to think about our place in the universe. Your photo first with your spiritual eyes, “he wrote once.
What might the eye of the soul in these pictures now? Friedrich’s satirical, depression topics appear, and TorPor is exposed to the landscapes that confuse and mix on an equal footing. They are at the end of a broken world of fate, and they turned them into.
The artist spent most of his life in Dresden. He knew early success, painting his amazing drawings that show Van Eyuck levels to control the fees. It comes from a rich period for great artists. These visions include Goya and Blake. Proto’s modernity giants such as Constaba, Ingris, and Delacroix; Showoff Turner. But Friedrich is a unique historical branch, which led to the dilapidated Munk, low surfaces in Magritte, and a lot of clarification.
Outdoor was drawn but was drawn in his studio of memory and imagination. One of the pictures of George Friedrich Kirseng of the artist, Casabar David Frederich 1811 in his studio, gives us Friedrich alone, sitting in a pregnant woman, making a waterfall on the fabric. “I have to stay alone and know that I am alone,” Frederich stressed, “In order to see nature and feel it completely.” In the forty -fourth, he married a 19 -year -old woman, and he has three children. He died in 1840, he forgot, out of style, in the financial strait. Unfortunately, the Nazis saw in the extensive landscape of Frederich the pictures of the “living space”. It has been distorted, just to be discovered in the late 1970s.
Friedrich came at the age of adulthood during the early romantic period, and was influenced by the new measurement. All this was washed away by the French Revolution, the era of terrorism, and the Napoleon wars that followed. Europe appeared exhausting after Waterloo in 1815. Friedrich once referred to “the darkness of the future” – this is the pessimism that dominates his art and his age.
The coating monk is from 1808 to 10 of the sea, which appeared in Alcove in MET, a superior example of Friedrich’s romance. There is a very low horizon – one of the distinctive features of its work. We see fragment of the ground. Above it, black watering is a narrow medium ground; The rest of the painting is the sky. (No wonder that many have commented on the influence of Friedrich on Rothco) The monastery in Owokood is a mysterious similar, and it is characterized by an abandoned cemetery with tilted graves and the ruins of the church amid trees without papers, as is the case in Greiffswald in the moonlight, which is a night scene of hunting ships in Low islands with a German city in fog. It can slide very easily on its smooth surfaces, to forget it after a long period of looking at it, but in the inherent yearning there is a metaphysical spiritual power at work. He once said: “If you will contemplate from the morning until evening, you will never understand or even understand the unknown matter later.”
Friedrich’s clarity is the basis of his art. Another way to think about it is as a use of light and satellite movement in the 1960s and 1970s. James Torryl’s innovative places come to mind, as do Larry Bell Bill Bill, Robert Erwin’s volatile, and Ashnis Martin engineering threats. Friedrich revolves around the glory bone, and in his best work, we communicate with a big all of this. What distinguishes Friedrich from anyone else is that the solitary human and its double nature: both are a small spot in the universe and the center of this.
“Casbar David Friedrich: The Spirit of NatureIn the Metropolitan Museum of Arts until May 11.
