Caspar David Friedrich:
Picture "View of a Harbour" (c. 1815/16), framed
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Picture "View of a Harbour" (c. 1815/16), framed
Caspar David Friedrich:
Picture "View of a Harbour" (c. 1815/16), framed

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ars mundi Exclusive Edition | limited, 980 copies | numbered | certificate | reproduction, Giclée print on canvas | on stretcher frame | framed | size 71 x 57 cm (h/w)

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Picture "View of a Harbour" (c. 1815/16), framed
Caspar David Friedrich: Picture "View of a Harbour" (c. 1...

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Picture "View of a Harbour" (c. 1815/16), framed

In his meticulously painted artwork, Friedrich achieved an incomparable metaphysical transparency: In 1815, as part of the Congress of Vienna, Western Pomerania came under Prussian rule. Thus, Friedrich's romantic harbour scene is also an allegory of the historical event: In the foreground, three people are seen in a rowboat making their way toward a ship on the horizon with a Swedish flag, amid anchored sailboats. The entire scene is immersed in a black-red-gold colour scheme: Analogous to the new German flag, these colours represent honour, freedom and fatherland.
Original: Around 1815/16, oil on canvas, 90 x 71 cm, Charlottenhof Palace, Potsdam.

Edition transferred to artist's canvas in Fine Art Giclée process and stretched on stretcher frame. Limited edition of 980 copies, numbered, with certificate. Framed in handmade, golden solid wood frame. Size 71 x 57 cm (h/w). ars mundi Exclusive Edition.

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Portrait of the artist Caspar David Friedrich

About Caspar David Friedrich


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.