What Art Critism Theory Best Fits the Wanderer Above the Sea of Fog
Wanderer to a higher place the Sea of Fog
- Appointment of Creation:
- 1818
- Culling Names:
- Wanderer Above the Mist, Der Wanderer über dem Nebelmeer
- Height (cm):
- 98.40
- Length (cm):
- 74.80
- Medium:
- Oil
- Back up:
- Canvas
- Subject area:
- Landscapes
- Art Movement:
-
Romanticism
- Created by:
- Current Location:
-
Hamburg, Deutschland
- Displayed at:
-
Hamburger Kunsthalle
- Possessor:
-
Hamburger Kunsthalle
- Wanderer above the Sea of Fog Page'southward Content
- Story / Theme
- Analysis
- Related Paintings
- Artist
- Art Menstruum
- Bibliography
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Wanderer above the Ocean of Fog
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Elbsandsteingebirge, Frg
Some believe Wanderer Above the Sea of Fog to be a self portrait of Friedrich. The young figure standing in contemplation has the same peppery ruddy pilus as the artist.
The figure stands in contemplation and self reflection, mesmerized past the haze of the bounding main fog as if it were a religious and spiritual feel. He wonders in that moment about the unforeseen hereafter.
By placing his dorsum toward the viewer he is not shutting them out - rather he enables them to come across the globe through his ain optics, to share and convey his personal feel.
Though some believe this to be a self-portrait tradition recounts that the figure in Wanderer Above the Body of water of Fog is a particular person, a high-ranking forestry officer, Col. Friedrich Gotthard von Brincken, of the Saxon infantry. He wears the green uniform of the volunteer rangers, those called into service confronting Napoleon past King Friedrich Wilhelm III of Prussia.
As this man was most likely killed in 1813 or 1814, this painting may besides serve as a patriotic tribute.
Though Friedrich painted this scene in his studio, he sketched it at the place of inspiration, Elbsandsteingebirge, in Saxony and Bohemia. He was always greatly inspired by German language landscape and deeply moved of the dazzler he found in his homeland. He depicts the mountains, the trees, and the heavy mist above the ocean.
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Wanderer above the Sea of Fog
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Wanderer above the Body of water of Fog
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Wanderer above the Bounding main of Fog
Friedrich executes a unique composition and employs his famous technique in Wanderer Above the Bounding main of Fog. His use of color and lighting is also notable.
Composition:
Friedrich chose to paint this landscape vertically instead of the much seen horizontal orientation. The upright position of the sheet models the uprightness of the figure in the painting.
Use of technique:
Once again Friedrich employs the Ruckenfugen technique in which he paints the figure with his dorsum towards the viewer. This makes the figure something of a mystery to the viewer - they are unsure what he is thinking or his reaction to the landscape that they too are taking in.
By separating the figure and the viewer, the latter focuses more than on the beauty of the surroundings rather than the man'south role in nature.
Color palette:
For this composition Friedrich uses a slightly brighter palette than usual. He mixes blues and pinks beyond the sky with the mountain and rock in the distance echoing these colors. He paints the figure in a dark green coat - typical High german attire.
Employ of light:
The light seems to be coming up from beneath the rock, somehow illuminating the fog. The rock the mysterious figure stands on remains by and large in silhouette form, though some particular is visible at the top about the figures' feet.
Tone elicited:
As the viewer cannot see the figure's face, the tone is questionable. In line with Friedrich's other works, and the overall Romantic platonic, information technology seems plumbing fixtures to believe that this wanderer stands in awe of the spooky nature earlier him.
His poise is 1 of a confident homo, he leans on his cane, and a relaxed paw rests in his pocket.
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The Lonely Ones, Edvard Munch
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The Scream
Edvard Munch, The Lonely Ones, 1899:
Friedrich influenced only a few artists that followed him. Amongst his admirers was Symbolist painter Edvard Munch whose piece of work has been explicitly related to Friedrich'southward.
Munch could identify with Friedrich's representative landscapes and in this work a articulate reference is seen to Friedrich's Man and Adult female Contemplating the Moon.
Edvard Munch, The Scream, 1893:
This is another landscape reference that occurs with Friedrich's Wanderer Above the Sea of Fog. Both paintings illustrate the "halted traveler" where the solitary figure experiences an epiphany in the centre of nature. Both artists rejected the traditional horizontal orientation of most landscapes and instead employ a vertical orientation, showing the upright presence of the character.
The major differences between the 2 paintings is that Friedrich'south figure, Rückenfigur, keeps his back turned on the viewer while Munch's figure confronts the viewer straight. The viewer and so engages with the effigy and less attending is paid to the landscape, an ideal crucial to the Romantic artists.
Munch also displays a hostile landscape, showing the opposite of the Romantics' linking of humankind and God through nature.
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Landscape with Temple Ruins
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Two Men Contemplating the Moon c.1819
Friedrich very rarely included people in his mural paintings. He painted Wanderer To a higher place the Body of water of Fog just around the time more figures started actualization in his work.
Some historians believe information technology is because he got married right around this fourth dimension, which may have invoked some newfound appreciation for human life and human relations.
Like the majority of his work, Wanderer Higher up the Bounding main of Fog was not fully appreciated during its day. Information technology wasn't until later his death that Wanderer gained significant attention. This is because Friedrich was, for the near function, misunderstood in his time.
Equally an artist, he struggled to proceeds full comprehension from the public and critics of his time, simply he connected to paint according to his ain artistic convictions, not for approval. He experienced a significant corporeality of success during his high days, even being commissioned past the Russian royal family.
Thanks to his intense and emotional focus on nature, Friedrich changed the style of landscapes and became a key fellow member of the Romantic Movement. Friedrich helped shaped the movement while in its fledging stage, his personal ideals matching upward perfectly with the new art form.
Neoclassical artists focused on properly accounting history through close attention to detail while Romantic artists flirted with themes of homo'southward function in nature, divinity found in nature, and emotion.
Although many critics are withal unable to comprehend Friedrich's emblematic references to Christ and God through landscape, today his work is generally well respected.
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The Abbey in the Oakwood
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Max Ernst
Different most artists, Caspar David Friedrich took less inspiration for the nifty masters of art before him and paid more attention to the teachers of his formal education.
Consequently, Friedrich had a truly unique way; he could transform landscapes from a mere forest to a wooded wonderland where each branch symbolized something greater, something deeper.
The trees were no longer merely copse, but cute wooden creatures that represented the unwavering strength of Christ. The rays of the dominicus didn't just serve to illuminate the ground just to testify the light of the Holy Father.
Romanticism was an art period lasting approximately course the early 19th century to the beginning of the 20th century. Romantic artists flirted with themes of man's cocky glorification, man'south part in nature, divinity institute in nature, and emotion.
Caspar David Friedrich fits in ideally with the characteristics of Romanticism every bit he displayed individualism, subjectivity, spirituality and the dearest of nature.
Unfortunately, reception of Friedrich'southward work deteriorated equally he anile. Eventually fifty-fifty his patrons lost interest in his work every bit Romanticism was being replaced with new, modern ideals.
Friedrich died while his fine art was no longer wanted. Critics thought it too personal to empathise, completely disregarding the fact that that was what made the work and then original in the first place.
Withal, Symbolist and Surrealist artists, such as Max Ernst, took note of the emblematic meanings that saturated Friedrich's canvases and both groups came to reference Friedrich as a not bad source of inspiration and foundation for their perspective movements.
To discover out more about Friedrich's contribution to Romanticism please choose from the following recommended sources.
• Hairdresser, John. The Road from Eden: Studies in Christianity and Civilisation. Academica Printing, LLC, 2006
• Bèorsch-Supan, Helmut. Caspar David Friedrich. Thames & Hudson, 1974
• Boime, Albert. Art in an Age of Counterrevolution, 1815-1848. Academy of Chicago Press, 2004
• Hoffman, Werner. Caspar David Friedrich. Thames & Hudson, 2001
• Jensen, Jens Christian. Caspar David Friedrich: life and work. Barron's, 1981
• Koerner, Joseph Leo. Caspar David Friedrich and the Bailiwick of Landscape. Yale University Printing, 1990
• Wintle, Justine. Makers of Nineteen Century Culture: 1800-1914. Routledge, 2002
• Wolf, Norbert. Caspar David Friedrich: 1774-1840: The Painter of Stillness. Taschen, 2003
Source: https://www.artble.com/artists/caspar_david_friedrich/paintings/wanderer_above_the_sea_of_fog
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