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Wanderer above the Sea of Fog [a] is a painting by German Romanticist artist Caspar David Friedrich made in 1818. [2] It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.
The painting was too minimalist for Johann Wolfgang von Goethe, who had been a supporter of Friedrich by introducing his work to the duke of Weimar and gaining prizes for him at an 1805 exhibition. Goethe said the painting "could be looked at standing on one's head," making a criticism that would be levied against abstract artists a century later.
The Nightmare (1781), by Johann Heinrich Füssli, Detroit Institute of Arts, Detroit. Symbolism, understood as a means of expression of the "symbol", that is, of a type of content, whether written, sonorous or plastic, whose purpose is to transcend matter to signify a superior order of intangible elements, has always existed in art as a human manifestation, one of whose qualities has always ...
Portrait of Caspar David Friedrich, Gerhard von Kügelgen c. 1810–1820. Caspar David Friedrich (German: [ˌkaspaʁ ˌdaːvɪt ˈfʁiːdʁɪç] ⓘ; 5 September 1774 – 7 May 1840) was a German Romantic landscape painter, generally considered the most important German artist of his generation, whose often symbolic, and anti-classical work, conveys a subjective, emotional response to the ...
The large-format canvas (4.41 x 3.41 meters) represents five members of the same family; they struggle to escape the raging elements of nature. The man perched on a rock hangs from a tree that is beginning to break; he tries to pull up his wife and two children, all while supporting on his back an old man who carries a purse in his hand.
Niagara is the American's mythical Deluge which washes away the memory of an Old World so that man may live at home in a New World. The painting is an icon of psychic natural purgation and rebirth. Poetically a New World emerges as the waters of a flood subside. The rainbow, sign of the "God of Nature's" covenant with man, transfixes the ...
It is as if Titian in these human forms would symbolise the struggles of the forces of nature. In drawing the masses of rock the remembrance of the mountains of his early home no doubt assisted him. [9] Charles Ricketts describes the two surviving pictures by Titian: In these Titian reverts to the bold foreshortening of his Santo Spirito ...
It is housed in the Mauritshuis art museum in The Hague, Netherlands. The painting depicts the moment just before the consumption of forbidden fruit and the fall of man. Adam and Eve are depicted beneath the tree of the knowledge of good and evil, where various fruits grow. On the opposite side the tree of life is depicted, also laden with fruits.