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This ready to hang, gallery-wrapped art piece features a landscape with a body of water stretching across the frame. Giclee (jee-clay) is an advanced printmaking process for creating high quality fine art reproductions. The attainable excellence that Giclee printmaking affords makes the reproduction virtually indistinguishable from the original piece. The result is wide acceptance of Giclee by galleries, museums, and private collectors. Gallery wrap is a method of stretching an artist's canvas so that the canvas wraps around the sides and is secured a hidden, wooden frame. This method of stretching and preparing a canvas allows for a frameless presentation of the finished painting. Color: Multi.

This ready to hang, gallery-wrapped art piece features a landscape with a body of water stretching across the frame. Giclee (jee-clay) is an advanced printmaking process for creating high quality fine art reproductions. The attainable excellence that Giclee printmaking affords makes the reproduction virtually indistinguishable from the original piece. The result is wide acceptance of Giclee by galleries, museums, and private collectors. Gallery wrap is a method of stretching an artist's canvas so that the canvas wraps around the sides and is secured a hidden, wooden frame. This method of stretching and preparing a canvas allows for a frameless presentation of the finished painting. Color: Multi.

This ready to hang, gallery-wrapped art piece features a landscape with a body of water stretching across the frame. Giclee (jee-clay) is an advanced printmaking process for creating high quality fine art reproductions. The attainable excellence that Giclee printmaking affords makes the reproduction virtually indistinguishable from the original piece. The result is wide acceptance of Giclee by galleries, museums, and private collectors. Gallery wrap is a method of stretching an artist's canvas so that the canvas wraps around the sides and is secured a hidden, wooden frame. This method of stretching and preparing a canvas allows for a frameless presentation of the finished painting. Color: Multi.

Now available in a new format, this beautifully illustrated volume on the controversial nineteenth-century Romantic artist addresses his modern critics while deepening our appreciation for his singular genius. "A painting must stand as a painting, made by human hand," wrote Caspar David Friedrich, "not seek to disguise itself as Nature." One of his generation’s most popular painters, Friedrich imagined landscapes of powerful beauty and spirituality from within the confines of his studios. This breathtaking monograph, filled with glorious reproductions and details of his paintings, argues for Friedrich’s reputation as a sublime artist and interpreter of nature. In his thoughtful and well-researched commentary, author Johannes Grave explores Friedrich’s approach to landscape painting as well as his revolutionary thoughts about how these paintings should be received by their viewers. Looking closely at pieces such as Monk by the Sea, Abbey in the Oakwood, and the Tetschener Altar, Grave shows how Friedrich developed an innovative approach to landscape painting, one that communicated a new sense of space and time, and which draws the viewer into a unique aesthetic experience. Highly readable, insightful, and copiously illustrated, this compelling book sheds crucial light on Friedrich’s celebrated body of work.

Caspar David Friedrich (1774–1840) is heralded as the greatest painter of the Romantic movement in Germany, and Europe’s first truly modern artist. His mysterious and melancholy landscapes, often peopled with lonely wanderers, are experiments in a radically subjective artistic perspective—one in which, as Freidrich wrote, the painter depicts not “what he sees before him, but what he sees within him.” This vulnerability of the individual when confronted with nature became one of the key tenets of the Romantic aesthetic.             Now available in a compact, accessible format, this beautifully illustrated book is the most comprehensive account ever published in English of one of the most fascinating and influential nineteenth-century painters.            “This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject.”—Independent

"Splendid monograph, the first of major proportions in nearly thirty years .ever thoughtful, opening the door to Friedrich's world that much wider."Chicago Tribune Werner Hofmann vividly demonstrates Caspar David Friedrich's extraordinary ability to reproduce the natural world in faithful detail, while at the same time imbuing it with spiritual and religious significance. Caught between the near and the distant, the finite and the infinite, his human figures find a space in which to engage in the thoughtful contemplation of nature and the divine. Carefully placing the artist in a wider context, Hofmann examines contemporary judgments and influences on Friedrich's work. The beautiful illustrations include many of Friedrich's drawings and watercolors as well as over ninety of his works in oils. 193 illustrations, 150 in color.

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First Printing in illustrated boards, gift inscription to front pastedown, slight shelf wear, else clean tight copy; 12mo; unpaginated, fully illus

Friedrich has come to be recognized in recent years as a giant of the Romantic movement and as one of the great figures of 19th-century art. His works have a haunting quality that is the product of an elaborate and consistent system of symbolism. His favourite motifs, mountainous landscapes with solitary figures, ruins of chapels and oak trees, and rendered with mystical light and religious intensity. The elements which make up a traditional landscape painting - the impression of high and low, near and far, light and dark, summer and winter - are all used symbolically. Every vast seascape, mountain peak or blasted tree expresses a truth about human life and the Christian hope for life to come. Friedrich's message is never obvious and it is an indefinable sense of mystery, as well as a profoundly emotional response to nature, which make him perhaps the truest Romantic among landscape painters. This study discusses in detail 68 chosen works, elucidating their artistic qualities and guiding the reader toward a fuller understanding of their symbolic content. An essay on Friedrich's life and work serves as an introduction.

German language. 11.97x10.28x1.22 inches. In Stock.

127 S. Ein gutes und sauberes Exemplar. - Zeichnung als Struktur - Caspar David Friedrich. Kornelia von Berswordt-Wallrabe -- Johan Christian Dahl. Sidsel Helliesen -- Caspar David Friedrich und Johan Christian Dahl. Aspekte künstlerischer Positionen im Zeitalter der Romantik. Kornelia Räder. ISBN 9783861060673 Sprache: Deutsch Gewicht in Gramm: 550 Mit zahlr. auch farb. Abb. Originalbroschur.

Caspar David Friedrich (1774–1840) is heralded as the greatest painter of the Romantic movement in Germany, and Europe’s first truly modern artist. His mysterious and melancholy landscapes, often peopled with lonely wanderers, are experiments in a radically subjective artistic perspective—one in which, as Freidrich wrote, the painter depicts not “what he sees before him, but what he sees within him.” This vulnerability of the individual when confronted with nature became one of the key tenets of the Romantic aesthetic.             Now available in a compact, accessible format, this beautifully illustrated book is the most comprehensive account ever published in English of one of the most fascinating and influential nineteenth-century painters.            “This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject.”—Independent

Caspar David Friedrich (1774â 1840) is heralded as the greatest painter of the Romantic movement in Germany, and Europeâ s first truly modern artist. His mysterious and melancholy landscapes, often peopled with lonely wanderers, are experiments in a radically subjective artistic perspectiveâ one in which, as Freidrich wrote, the painter depicts not â what he sees before him, but what he sees within him.â This vulnerability of the individual when confronted with nature became one of the key tenets of the Romantic aesthetic.            Now available in a compact, accessible format, this beautifully illustrated book is the most comprehensive account ever published in English of one of the most fascinating and influential nineteenth-century painters.            â This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject.â â Independent

Caspar David Friedrich (1774-1840), a major figure in the German Romantic movement, painted sublime works representing nature at its most melancholic and desolate. One of his most famous motifs was that of two intimate figures, seen from behind, gazing at the moon. Friedrich painted three versions of this theme, one of which-Two Men Contemplating the Moon-has recently been acquired by The Metropolitan Museum of Art. The book discusses the Metropolitan's painting in conjunction with the other two versions and a number of related paintings and drawings by Friedrich and his Dresden friends. It also presents fascinating details about the moon itself-including what was known about it in Friedrich's lifetime and its presence and symbolism in contemporary Romantic poetry.

"Splendid monograph, the first of major proportions in nearly thirty years .ever thoughtful, opening the door to Friedrich's world that much wider."Chicago Tribune Werner Hofmann vividly demonstrates Caspar David Friedrich's extraordinary ability to reproduce the natural world in faithful detail, while at the same time imbuing it with spiritual and religious significance. Caught between the near and the distant, the finite and the infinite, his human figures find a space in which to engage in the thoughtful contemplation of nature and the divine. Carefully placing the artist in a wider context, Hofmann examines contemporary judgments and influences on Friedrich's work. The beautiful illustrations include many of Friedrich's drawings and watercolors as well as over ninety of his works in oils. 193 illustrations, 150 in color.

Sublime stillness: Capturing nature's moody splendor   The solitude of man and the bleak beauty of nature are prominent themes in the work of Caspar David Friedrich (1774-1840), the great romantic painter whose importance and influence have often been underestimated. Now widely considered to be the most important German artist of his generation, Friedrich died in obscurity and wasn’t fully appreciated until the early 20th century. An important precursor to the Expressionists, Friedrich once wrote that an artist must "close your bodily eye so that you may see your picture first with the spiritual eye. Then bring to the light of day that which you have seen in the darkness so that it may react upon others from the outside inwards."   About the Series: Each book in TASCHEN’s Basic Art series features: a detailed chronological summary of the life and oeuvre of the artist, covering his or her cultural and historical importance a concise biography approximately 100 illustrations with explanatory captions

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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 and one of the most original geniuses in the history of landscape painting. 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". He was virtually forgotten at the time of his death and his immediate influence was confined to members of his circle in Dresden, notably Georg Friedrich Kersting, who sometimes painted the figures in Friedrich's work. It was only at the end of the 19th century, with the rise of Symbolism, that his greatness began to be recognized. Most of his work is still in Germany.

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