Picture "The Afternoon" - from the "Time of Day Cycle", framed
Picture "The Afternoon" - from the "Time of Day Cycle", framed
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ars mundi Exclusive Edition | reproduction on canvas | on stretcher frame | framed | size 34 x 46 cm (h/w)
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Picture "The Afternoon" - from the "Time of Day Cycle", framed
Caspar David Friedrich's works convincingly implement the Romantic idea of profoundly interpreting and deciphering the "book of nature". The "Time of Day Cycle", painted in 1821/22, also represents a cycle of life in which the viewer can discern childhood, youth, maturity and the serenity of old age.
"The Afternoon":
In the third part of the cycle, the reddish reflection of some clouds indicates the approaching evening peace and bathes the landscape in the late afternoon light. The cornfield has already been partially harvested. And the farmer is heading towards the end of his workday with his horse-drawn vehicle.
This treasure of the Landesgalerie Hannover was transferred exclusively for ars mundi onto canvas and framed in a high-quality gilded solid wood frame. Size 34 x 46 cm (h/w).
"For over a hundred years, the 'Time of Day Cycle' has been one of the main works exhibited in the Lower Saxony Landesmuseum in Hanover. Four paintings depict ideal landscapes reminiscent of the European Harz Mountains or the Giant Mountains. Unlike the later impressionistic artworks, they were painted in the studio and don't depict the same motif. Caspar David Friedrich is the most important artist of early German Romanticism. He did not simply imitate nature but created pictures of great emotional depth. Thanks to ars mundi's excellent reproduction, these paintings are now accessible to many people, who can enjoy an everlasting experience of nature with these paintings." (Dr Katja Lembke, Landesmuseum Hannover)
Producer: ars mundi Edition Max Büchner GmbH, Bödekerstraße 13, 30161 Hanover, Germany, [email protected]
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About Caspar David Friedrich
1774-1840
Caspar David Friedrich was the most important German painter of the Romantic period. Even his person embodied the typical Romantic: he was rather introverted, close to nature and religious, he saw nature as a mirror of human feelings. In his meticulously painted canvases, Friedrich achieved incomparable metaphysical transparency.
"The painter should paint not only what he has in front of him, but also what he sees inside himself." With this recommendation to his fellow painters, Caspar David Friedrich explained the driving force and meaning of his paintings.
Landscape depiction holds a leading position in his oeuvre. Friedrich went on long hikes through the mountains and along the coast with friends. He captured human beings in their smallness in relation to the immense power of nature. The lonely figures look longingly into vast landscapes with distant horizons. They often turn their backs to the viewer so that he can put himself in their place. Using symbolic nature metaphors such as the moon as the universe and tree stumps as an indication of transience, he created contemplative romantic feelings and religious sentiments. Friedrich wanted his nature moods to provide insight into the human soul.
At the age of 24, after an academic education in Copenhagen, the young artist was drawn to Dresden. In the city along the Elbe, Friedrich and other painters, as well as poets such as Tieck and Schlegel, formed the centre of early Romanticism. The characteristic feature of Romanticism is the reciprocal effect of poetry and painting. Friedrich's landscapes are mirrors of feelings and seek to express visually what poetry achieves with words. "The depths of our spirit are unknown to us - the mysterious way leads inwards. Eternity with its worlds - the past and future - is in ourselves or nowhere." This is how the poet Novalis expressed himself on behalf of the early Romantics.
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An intellectual movement that spread from literature and philosophy into the visual arts, it was established around 1800 but failed to produce its own style in the visual arts.
The art of Romanticism was determined by the content of the awareness of life and the sensations triggered by it. Inner feelings and emotions, dreams and fantasy, world and nature, the power of myth, and the striving towards infinity became central themes. The actual realm of Romanticism lies in painting and drawing. Landscape, in particular, came to the fore as a recurring theme, depicting the relationship between humans and nature while reflecting emotional states. Alongside a newfound appreciation for nature, there was a renewal of religious attitudes and a return to the past, tradition, history, old legends, and fairy tales, as well as to the art of old masters and epochs. Especially in the case of Germany, this was strongly national-oriented art.
The main representatives in Germany include C.D. Friedrich, P.O. Runge, J.A. Koch, M. v. Schwind, and the Nazarene group of artists. The French branch of Romanticism, which followed different tendencies than its German counterpart, is best exemplified by the art of Delacroix.
Romanticism lasted until around 1830.