Caspar David Friedrich quotes - page 3
Friedrich is recognized today as the supreme German painter of the Romantic era, but in his own time his genius was not so widely acknowledged. This was not because the aims of his art were foreign to the interests of his generation. On the contrary, his allusions to the spiritual in nature, his close study of the local landscape, and his emphasis on the need for inspiration were all commonplace preoccupations of the period. His art was undervalued because it explored these areas with a new uncompromising vision that was too personal and original to be easily grasped.
Caspar David Friedrich
It is significant, as William Vaughan remarks in his introduction to Borsch-Supan's catalogue, that churches never appear in Friedrich's work except in the distance, as unreal visions, or as ruins. The visible Church is dead, only the invisible Church, in the heart or revealed through Nature, is alive. This is part of Friedrich's Pietist heritage, a personal religion that refuses all outward forms, all doctrine. To put a landscape on an altar is an aggressive act, as destructive of the old forms as it is creative of a new sensibility.
Caspar David Friedrich
When not converging on literally nothing, his pictorial schemes address objects that are either remote, like the moon, or obdurate, like the battered oak. Human figures intercept our gaze and transmit it into ineffable distance. The pictures don't give; they take. Something is drawn out of us with a harrowing effect, which Friedrich's use of color nudges toward intoxication. What at first seem to be mere tints in a tonal range combust into distinctly scented, disembodied hues: drenching purples and scratchy russets, plum.
Caspar David Friedrich
