After the Pergamon we walked across to the Alte Nationalgalerie to see the works of Caspar David Friedrich. We’d been disappointed when on our first visit we discovered that the gallery that held his paintings was closed, so we bought this book. I have always loved the picture on the cover; The Wanderer above a Sea of Mist 1818. It was on the cover of a my paperback edition of David Denby’s Great Books which was his account of undertaking the Columbia University Literature Humanities course – which covers the traditional Western Canon. I now see it’s not on the editions that are currently available. Anyway, I digress, but that was my introduction to Caspar David Friedrich. The quotations about his pictures used below all come from this book.
Friedrich is known for his moodscapes, with pictorial spaces that resonate in the psyche. He was not interested in naturalistic impressions of nature. He’s a great favourite of the Romantics. Including me! Here’s a picture by Georg Friedrich Kersting, Caspar David Friedrich in his Studio 1812. This includes the tools – ruler, protractor, T-square – that Friedrich used to provide the rigorous structure, precise symmetries, geometric constructions and the contrast of verticals and horizontals in his pictures.
When I came into the gallery I was thinking, these paintings are very familiar, then realised it was because I’d seen them in the book. This is Monk by the Sea 1808/10; recognised as undoubtedly a masterpiece in Friedrich’s œvre and the boldest picture within German Romanticism as a whole … Because all lines lead out of the picture, infinity becomes the true subject of the painting.
And here is the monk in close up, reflecting on the power of the universe.
This is one of his best known paintings. Woman at a Window 1822. The woman is his wife. It’s a reflection on near and far, of a narrow interior and a spaciousness that can be sensed outside…
I like how he puts people into his paintings; figures appear in pairs closely bound by friendship or love … the men in old-German costume including a black velvet biretta . Here is Man and Woman Contemplating the Moon 1824. The two figures gazing at the moon in Romantic wonderment.
And here is Two Men by the Sea. This costume was associated with militancy and was banned for a period but Friedrich continued to use it, saying of a similar painting of two men in this garb, They’re plotting demagogic intrigue.
This is Moonrise over the Sea 1822. Distances can no longer be gauged in rational terms, so that water, ships, moon and sky open up a dream world extending between yearning and melancholy, between near and far, between this world and the universe.
His people are dwarfed by the world around them – but not in a threatening way. This is Deep in the Forest by Moonlight 1823-30. Travellers are preparing a meal. I love the symmetry of the moon and the trees.
Coast Scene by Moonlight 1830.
Abbey among Oak Trees 1808-10 was painted at the same time as The Monk by the Sea. You can see monks are proceeding past an open grave at the bottom of the picture but the possibility of a better world seems to reveal itself only on the pale horizon, on the far side of history and death.
Ruins of Eldena Monastery near Greifswald 1824/25.
And here is a detail from that picture.
The Solitary Tree 1822. Oak trees run like a leitmotif throughout Friedrich’s œvre … a reminder of the artist’s personal roots and are at the same time charged with nationalist sentiment.
Greifswald Harbour 1818-20. The themes of the sea, harbours and ships seem to have touched him deeply.
Cabin Covered in Snow 1827.
This is The Riesengebirge mountains 1830-35. This was Joe’s favourite. No people here.
Then back down to the Menzel Wing where we’d been before. On the way out returned to Menzel. Especially wanted to see this again. Das Balkonzimmer 1845. This painting is mentioned in The Undercurrents. I had thought it vaguely unfinished when I first saw it, but the delicacy of the curtain being blown in from the window is quite lovely.
Also Schlafzimmer des Künstlers 1847. I like the perspective in this one – the clarity of what you see through the window.
Abendgesellschaft 1847. None of these paintings have English translations which indicates they are not included in the audio guides.
Bonsoir, messieurs!’ Friedrich der Grode im Schlod von Lissa (Skizze) 1856. I love the paintings Menzel did of Friedrich the Great.
Friedrich the Great and Emperor Joseph II meet in Naples in the Year 1769
Friedrich the Great Addresses his Generals before the Battle of Leuthen in 1757. I thought this one had an unfinished look to it given the expanses of white, and still think it.
Flute Concert Friedrich the Great at Sansouci (Sketch). It’s interesting to see this forerunner to the bigger painting. Very detailed.
And here is a second picture of the famous picture, Flute Concert of Friedrich the Great at Sansouci
Not keen on this but saw it elsewhere so had another look at it. He looks quite grumpy in old age.
Both times we’ve visited Museum Island we have seen bridal parties being photographed – it’s clearly a popular spot for same – so I took the opportunity to snap this couple behind Joe as they were posing for their own photographer. All part of the atmosphere amidst these famous galleries.
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