Abbey in the oak forest
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| Abbey in the oak forest |
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Caspar David Friedrich , 1809–1810 (condition before restoration) |
| Oil on canvas |
| 110 × 171 cm |
| Old National Gallery |
Abbey in the oak forest , also monk burial in the oak grove , is a painting by Caspar David Friedrich , created between 1809 and 1810 . The painting in oil on canvas in the format 110.4 x 171 cm is located in the Alte Nationalgalerie in Berlin and can be seen there together with the monk by the sea as a pair of images. The two pictures were shown for the first time at the Berlin academy exhibition in 1810 and by the Prussian King Friedrich Wilhelm III. acquired. The reputation of the purchase brought the painter the breakthrough to fame. In 1825 , Carl Gustav Carus described the abbey in the Eichwald as "perhaps the most profound poetic work of art of all new landscape painting". Since 2016 the work has been presented again after extensive restoration work.
Image description
The painting shows a monastery cemetery in winter, indicated by a large number of grave crosses. In the middle of the picture rises the ruins of a Gothic choir with the remains of a window tracery, framed by leafless oaks with cut branches. A procession of monks strides past an excavated grave in the direction of the open ruin portal with a built-in cross. A coffin is carried in advance. The depth of the space behind the gate can only be guessed at. In the background a dirty brown wall of fog rises, above it an illuminated evening sky with the waxing moon. On closer inspection, the viewer discovers a little bird in the tracery of the ruin.
Look at the background of the picture
Details of the signature are also of importance for the Abbey in the Eichwald , which cannot be seen under the browned and opaque layers of varnish in normal light, but which are revealed by means of infrared reflectography. On the cross of the ruin portal, the body of Christ can be seen in a clearly boyish version. The portal opens the interior of a church with an altar and burning candles on two candlesticks. On the right side of the altar one can see the outline of a human figure. The monks in the procession are drawn in great detail, some of them are carrying crucifixes. The monks' habit consists of a light, ankle-length robe and an essay with a pulled-back hood that extends to waist height. The Gothic tracery in the choir appears as a filigree graphic construction in which the smallest detail becomes visible against the illuminated evening sky.
Structure and aesthetics
In contrast to the counterpart The Monk by the Sea , which deliberately refuses to accept any aesthetic system, here the aesthetic order is complete. The image is axially symmetrical. The vertical of the central axis leads exactly through the vertex of the window in the ruin. The choir wall in the center is flanked by four oaks. The trunks of the two large oaks on the right and left are on the two vertical lines of the golden section . The lower horizontal line of the golden section marks the floating dividing line of the light stratification at the edges of the picture, which gives way downwards in the gentle arc of a stretched hyperbola , mirrored in the floor shape. The two groups of trees and the ruin form the three-bar rhythm of a triptych.
Painting style
The picture on a very fine, pre-primed canvas is made with a very detailed underdrawing with a ruler. The lines of the architecture are accentuated with a thin, brown-red brush application. The oil paints were applied with several fine layers, thinner from top to bottom and staining the signature structure with the local tone.
Image interpretation
The picture alludes to death and shows a solemn “landscape of the dead”. The light motifs see for it to come from death to eternal life. The dreary view of the monk by the sea contrasts with the promise of happiness in the evening light. From the missing sepia from 1804 with the title My Burial, Helmut Börsch-Supan draws the conclusion that Friedrich as the monk by the sea is staging his own funeral here. Through the painter's reference to a Protestant attitude, the church ruins could mean the past institution of the church of the Middle Ages. The oaks are mostly interpreted as symbols of the sunken pagan-Germanic gods. Hilmar Frank does not see these clear intentions of the painter. Friedrich, who by his own admission was undecided about the presentation of the topic, had saved himself from the problem of faith in the experimental painting process. The little noticed details like the little bird in the tracery and the Jesus on the cross in the form of a boy can hardly be accommodated in the standard interpretation. Detlef Stapf offers a metaphor for the history of the Reformation for the abbey in the Eichwald . The title of the picture cannot be used for an interpretation. When the pair of images was sent to the academy exhibition, the two landscapes did not yet have a title; the catalog noted Two Landscapes in Oil .
Own interpretation
A text from Friedrich on the Abbey in the Eichwald has come down to us, which was a copy of a letter from the painter among the papers left by Amalie von Beulwitz. The original text probably comes from a letter to Johannes Schulze in February 1809 .
“Now I am working on a large picture in which I intend to depict the secret of the grave and the future. What can only be seen and known in faith, and which will forever remain a riddle to man's finite knowledge: (to myself what I want to represent, and how I want to represent it, is in a certain way a riddle) under, covered with snow Tombs, and burial mounds, stand the remains of a Gothic church, surrounded by ancient oaks. The sun has set, and in the twilight, standing above the ruins, the evening star and the moon's quarters shine. Thick fog covers the earth, and if one could still clearly see the upper part of the wall, the shapes below become more and more uncertain and indeterminate, until finally everything, the closer to the earth, is lost in the fog. The oaks stretch their arms up out of the fog, while they have completely disappeared below. "
In Friedrich's statements when looking at a collection of paintings by mostly still living and recently deceased artists, there is a text fragment that can be assigned to the abbey in the oak forest.
“At first glance this picture shows the ruins of a dilapidated monastery as a reminder of a gloomy past. The present illuminates the past. In the dawning day you can still see the receding night. In the picture, the eye is guided by the light into the twilight, from the twilight into the darkness and from the darkness even further into the darkness. Perhaps this artist is a Protestant and he has, may have, had something like that in mind when depicting the above. "
The site
The architectural body of the picture takes up the view of the west facade of the ruin Eldena with some changes . However, there is a consensus in research that the painting has no reference to the Greifswald monastery area, but is used by the painter as "material" for an allegory. Detlef Stapf attributes the Gothic ruins of the Premonstratensian monastery in Broda Monastery on Lake Tollensesee near Neubrandenburg to the picture . The monks (shown in the infrared reflectography) are named as evidence of this, among other things, the monks precisely portrayed by Friedrich in the Premonstratensian habit . An argument for this thesis is also given that Friedrich presented the cross on the Baltic Sea , which had already been shown in 1807, together with the monk by the sea and the abbey in the Eichwald in the Berlin exhibition. In this context, the sepia would reveal the view of the location of the former Broda monastery on Lake Tollensesee from a hill above the north beach.
Preliminary stages
The picture staging of grave and ruin has a long motif lead for Friedrich. The painter worked on the subject of the abbey in the Eichwald through several preliminary stages, whereby the picture narration varied. The earliest reference to the topic is given in the sepia leaf ruin Eldena with burial from 1802. Here the ruin frames an illuminated cemetery hill with a crucifix, in front of which a person kneels and prays. The sepia winter - night - old age and death , which shows an old man sitting at the open grave in front of the ruin, belongs to the cycle of times of day, seasons and life from 1803 . Helmut Börsch-Supan refers to the cycle when he assigns the pair of images, abbey and monk, to the circle of images with age themes. At the Dresden art exhibition in 1804, Friedrich showed a large sepia entitled My Burial . In front of the ruins of Eldena, next to an open grave, there is a grave cross with the inscription Hier rests in God CD Friedrich . Mourners have gathered around the grave. A priest points to one of several butterflies that are supposed to symbolize the soul of the painter and his deceased relatives. The times of day, seasons and life cycle of 1807 are lost. Gotthilf Heinrich von Schubert describes the accompanying winter picture in his views of the night side of natural science .
“There the moon looks in with full light through the ruins of an old high past. The sky opens there over the sea, and yet shows once more in its clear blue, as in early childhood. There the coast of a distant land is being punished in a prophetic glimmer across the sea. "
The painting The Winter of 1808 , which was burned in the Munich Glass Palace in 1931, is regarded as the immediate preliminary stage to the abbey . Formally speaking, the ruins of the abbey picture are taken from the side and three of the oaks are already in place. It is possible that an unresolved problem of depicting winter is resolved in two pictures, in the monk by the sea and in the abbey in the oak forest . For Detlef Stapf, the winter painting is an argument for the Tollensesee thesis. The spatial situation of the monastery grounds in front of the Brodaer Berg is shown here. The cemetery shown in the middle distance still exists today.
Caspar David Friedrich: Eldena ruins with funeral , around 1802/03
Caspar David Friedrich: Winter - Night - Old Age and Death , around 1803
Caspar David Friedrich: The Winter , 1808
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The oaks
The oaks in the picture can be traced back to precise studies that Friedrich mainly made during a stay in Neubrandenburg in 1809. Since these are oaks from the Neubrandenburg city wall, the trees can also be assumed to have a symbolism other than pagan. These wall oaks were planted by the residents when they acquired town charter. Friedrich knew the family trees of his ancestors and may have brought them into the picture.
“In any case, it seemed quite significant to me when Master Friedrich [Caspar David Friedrich's brother Johann Samuel, blacksmith in Neubrandenburg] told us as we were walking around the Wall: it has been a custom here since ancient times for a young man to be made a citizen so he had to plant an oak on the wall, and so there was just as little real bourgeoisie as the real tree. "
Tragedy of the landscape
Carl Gustav Carus reported that the French sculptor Pierre Jean David d'Angers exclaimed in Friedrich's studio when he saw his pictures: “Voilà un homme, qui a découvert la tragédie du paysage!” Since then, Friedrich has been considered the discoverer of the tragedy of the landscape. The quote is occasionally used as being only applicable to the monk by the sea and the abbey in the oak forest. Even if the pair of images makes the metaphor particularly vivid, David d'Angers meant Friedrich's way of painting, his subjects and conveyed moods through the depiction of individual figures in the midst of a nature that was perceived as overpowering.
“How has it always appealed to the mind in its own way when Friedrich, in his landscape tragedies, shows the whole seriousness of life in the picture through a few granite blocks, poor scrub and rising moon, or through a lonely seashore with clouds moving over it brought. "
Friedrich's death theme
To deal with the Christian idea of his own death and the hope of salvation, Friedrich was already familiar with as a child. This is shown on a sheet of calligraphic writing exercises by 14-year-old Caspar Davids on December 1, 1788.
“God himself has planted a seed for pleasure in our pains and sorrows, and things that seem obnoxious work together for a communal purpose. Life is born from death; Education awakens hope and longing increases the joy of enjoyment. Death frees our earthly body, as it were, from the coarser dross that make it incapable of an immortal life in heaven. "
A poem by the painter from the period after 1825 expresses the fact that the motif of “death devotion” is a retreat.
“Why, the question has often come to me, Do you choose death, transience and grave as the subject of your painting? In order to live forever, one often has to surrender to death. "
Time of origin
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In order to interpret the abbey in the oak forest as the painter's soul landscape, the biography is asked about events that could cause emotional shocks. After returning from the trip to Rügen in June 1809, Friedrich began working on the abbey . The apparently most painful loss of his life occurred half a year earlier. Friedrich's sister Catharina Dorothea Sponholz died on December 22, 1808 in Breesen . After the early death of his mother, she was considered to be a substitute mother in education and care. The feeling of loneliness and sadness could have determined the motives of his art in the months that followed. Immediately after the death of his sister, after the completion of the Tetschen Altar in the Ramdohr dispute, the painter had to expose himself to a previously unheard of hurtful criticism of his art. The painter's father died on November 6, 1809 in Greifswald. On a portrait of the painter Caroline Bardua dated 1809/10, Friedrich can be seen wearing a mourning armband, which he may have put on as a symbol of protest against the French occupation. Visitors to Friedrich's studio get their first impressions of the abbey in the oak forest on the easel. Goethe saw the picture on September 18, 1810, Carl Friedrich Ernst Frommann on September 24, 1810, shortly before the Berlin academy exhibition. Around this time Johanna Schopenhauer and Theodor Körner were also able to take a look at the painting.
Counterparts
The Abbey in the Eichwald forms a pair of pictures with the Monk by the Sea , which were shown for the first time during the Berlin Academy Exhibition of 1810. Friedrich had previously designed several paintings and sepias as counterparts. While the antithetical meaning is open in the works Sommer and Winter of 1808, in the case of the monk and the abbey the contrasts and the dialogue appear enigmatic. Formally, the images are completely different. Here horizontal layers and compression of three uniformities, there a varied syntax and dialogue between different formal areas. In the interpretation that the monk is finally carried to the grave by the sea in the coffin of the funeral procession, the offer of the widespread picture narration is exhausted. Thematically, the monk by the sea cannot be explored without the abbey in the oak forest, the two images can only be thought of together. Two interpretations are offered here. Helmut Börsch-Supan sees the pair of pictures as belonging to the circle of pictures with age themes, i.e. with reference to works such as the Sepia Spring, Morning, Childhood (1803) or the painting The Levels of Life (around 1835). Werner Hofmann and Detlef Stapf see formal preliminary stages for the two key images in the Weimar Sepia from 1805 ( pilgrimage at sunrise , autumn evening at the lake ) and in the Viennese paintings from 1807 ( seashore with fishermen , fog ), although there is also an updated picture narration which is linked to the history of the Tollensesees.
Caspar David Friedrich: Pilgrimage at sunset , 1805
Caspar David Friedrich: Autumn evening at the lake , around 1805
Caspar David Friedrich: Sea Beach with Fisherman , 1807
Caspar David Friedrich: Fog , 1807
Caspar David Friedrich: The Monk by the Sea , 1810
Caspar David Friedrich: Abbey in the Eichwald , 1810
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The abbey as a quote
Friedrich used the motif of the abbey in the Eichwald in his painting Klosterfriedhof im Schnee from 1819 as a (personal) quote. The monastery cemetery can also be seen as a further development of the abbey or as an implementation of the original ideas. The altar, in front of which a priest is standing in the abbey picture, is only visible in the signing of the abbey cemetery as the destination of the mourning procession. The bright, exaggerated choir in contrast to the rather insignificant remains of the dark ruins in front of it is seen as confirmation that the abbey in the oak forest represents the overcoming of the old institution of the church.
Provenance
The painting was shown together with the Mönch am Meer at the Berlin exhibition of 1810 by the Prussian King Friedrich Wilhelm III. acquired. The location of the picture was the Palais Unter den Linden until 1837 , 1837–1844 the New Palace in Potsdam , 1844–1865 the Bellevue Palace , later the Wiesbaden Palace , and after 1906 the Berlin City Palace . Before the pair of images came to the Alte Nationalgalerie in Berlin, they showed the administration of the State Palaces and Gardens in Charlottenburg Palace .
Friedrich Wilhelm IV.
The Prussian Crown Prince Friedrich Wilhelm IV is said to have bought the pair of paintings Mönch am Meer and Abbey in Eichwald . The wish of the then 15-year-old boy was astonishing. Diary notes or other statements about it are not known. Under the given circumstances, the Prussian king could not take it for granted that the rather art-remote Friedrich Wilhelm III complied with his son's request and used 450 thalers from the royal house's empty cash register due to the war. In his younger years, the Crown Prince was more interested in art than in other things, drawing wherever possible. His main interest was in Gothic buildings. The pair of pictures did not meet the crown prince's known preferences in painting. It is believed that he acquired the two paintings as consolation images. The death of the mother, Queen Luise, in July 1810 had deeply shaken the boy's soul. Perhaps he recognized the religious content in the Monk by the Sea . At the beginning of 1810, the new prince tutor Jean Pierre Francoise Ancillon changed the up until then liberal educational program of the heir to the throne and ordained daily religious retreats under the guidance of the court and cathedral preacher Friedrich Samuel Gottfried Sack . Since the queen's death, questions of the afterlife have become the focus of religious doctrinal discussions. For the king, the wish of his son provided orientation for further acquisitions for the royal collection. At the Berlin Academy Exhibition in 1812 he bought the two paintings Morning in the Riesengebirge and Garden Terrace for the Prussian Palaces from Friedrich, and at the Berlin Academy Exhibition in 1816 as a gift for the Crown Prince's 21st birthday, the paintings Söller in front of Domplatz in the twilight and view of one Port . Friedrich Wilhelm IV visited the painter on March 3, 1830 in his Dresden studio, but did not acquire any of the pictures he saw there. During a visit to Greifswald in 1827, the Crown Prince arranged for the agriculturally used ruins of Eldena to be restored to a state that comes close to the romantic in Friedrich's pictures.
Sketches
Only two of the sketches and studies of the trees shown in the picture have survived, but they make clear the use with naturalness and changes. The drawing oak from 1804 is inserted as the first oak to the right of the ruin and the study of an oak from May 5, 1809 as the second oak to the left of the ruin. The drawing of the Eldena Abbey near Greifswald from 1836 clearly shows the changes to the original picture of the Eldena ruins.
Caspar David Friedrich: Study of an Oak , May 5, 1809
Caspar David Friedrich: Oak , around 1804
Caspar David Friedrich: The Eldena Abbey near Greifswald , 1836
Classification in the complete work
The abbey in the Eichwald , together with the Mönch am Meer, Friedrich's oeuvre, can be seen from various perspectives as a turning point and highlight of his work. The acquisition of the picture by the Prussian king brought the painter not only great public attention with his admission to the Berlin Academy but also professional recognition. In the series of pictures of ruins and allegories of death, the painting remains unmatched in its aesthetic structure and effect.
Effect in art
With the abbey in the Eichwald, Friedrich achieved a motivic influence on the Dresden artistic environment. In the work of Carl Gustav Carus after 1816, some paintings with church ruins can be found as allegories of death. At Ernst Ferdinand Oehme the arisen under the impression The Abbey in the Oakwood and the Monastery cemetery in the snow paintings such as the Cathedral in winter (1821) and Procession in the fog (1828). Like Friedrich, he painted against the changing tastes of the time. When in 1837 he turned to the cemetery theme again after a summer evening with the churchyard , he was insulted by the critics as a “grave-thirsty pallet vampire”. In the classical modern era, Lyonel Feininger creates associations with Friedrich's abbey motifs with his paintings Gelmeroda III (1913) and Gelmeroda IX (1926).
Carl Gustav Carus: Return of the Monks to the Monastery , around 1816/18
Carl Gustav Carus: Monastery ruins with corpse stones in the moonlight , 1818
Ernst Ferdinand Oehme Ernst Ferdinand Oehme Cathedral in winter , 1821
Ernst Ferdinand Oehme Procession in the Fog , 1828
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reception
Friedrich's contemporaries described the abbey in the Eichwald predominantly as religiously uplifting. In addition, the work was ascribed a poetic effect. Around 1810 Theodor Körner wrote a famous double sonnet for Abbey in the Eichwald under the title Friedrich's Todtenlandschaft . In this early 19th century pictorial poem, the poet translates the simultaneous pictorial events into a dramatically tapering plot chronology. Less well-known is a poem by Clemens Brentano on the Abbey in the Eichwald , which provided its text with educational references and an ironic undertone. In 1989, Friedrich's picture was widely used as the cover of Eugen Drewermann's international bestseller Kleriker .
restoration
The painting on very fine canvas with thin, translucent layers of paint was susceptible to technical, mechanical and age-related damage from the start. The first intensive restoration was carried out in 1906. Today only a greatly reduced original substance is left. In 2013–2015, the restorers at the Staatliche Museen Berlin carefully reversed improper restorations according to today's standards and replaced them with reversible materials using modern restoration methods.
literature
- Helmut Börsch-Supan, Karl Wilhelm Jähnig: Caspar David Friedrich. Paintings, prints and pictorial drawings , Prestel Verlag, Munich 1973, ISBN 3-7913-0053-9 . (Catalog raisonné)
- Werner Busch: Caspar David Friedrich. Aesthetics and Religion . Publishing house CH Beck, Munich 2003.
- Carl Gustav Carus: Memoirs and Memories . Gustav Kiepenheuer Verlag, 2 volumes, Weimar 1965/1966.
- Hilmar Frank: Prospects for the immeasurable. Perspectivity and open-mindedness with Caspar David Friedrich . Akademie Verlag, Berlin 2004.
- Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011.
- Nina Hinrichs: Caspar David Friedrich - a German artist from the north. Analysis of Friedrich's reception in the 19th century and under National Socialism . Publishing house Ludwig, Kiel 2011.
- Sigrid Hinz (Ed.): Caspar David Friedrich in letters and confessions . Henschelverlag Art and Society, Berlin 1974.
- Werner Hofmann: Caspar David Friedrich. Natural reality and art truth. CH Beck Verlag, Munich 2000, ISBN 3-406-46475-0 .
- Jens Christian Jensen: Caspar David Friedrich. Life and work . DuMont Verlag, Cologne 1999.
- Detlef Stapf: Caspar David Friedrich's hidden landscapes. The Neubrandenburg contexts . Greifswald 2014, network-based P-Book
- Birgit Verwiebe: Caspar David Friedrich - The Watzmann . SMB DuMont, Cologne 2004.
- Herrmann Zschoche: Caspar David Friedrich. The letters. ConferencePoint Verlag, Hamburg 2006.
See also
Web links
- Abbey in the Eichwald in the online database of the Staatliche Museen zu Berlin
- Before-and-after comparison of restored painting Abbey in Eichwald . Berliner Morgenpost , January 21, 2016, archived from the original on January 21, 2016 .
Individual evidence
- ^ Werner Hofmann: Caspar David Friedrich. Natural reality and art truth . CH Beck, Munich 2000, ISBN 3-406-46475-0 , p. 53
- ^ Carl Gustav Carus: Memoirs and Memories . Gustav Kiepenheuer Verlag, 2 volumes, Weimar 1965/66, p. 230.
- ↑ Alte Nationalgalerie: The monk is back. ( Memento from April 18, 2016 in the Internet Archive )
- ↑ Birgit Verwiebe: Caspar David Friedrich - The Watzmann. SMB DuMont, Cologne 2004, p. 104
- ^ Werner Busch: Caspar David Friedrich. Aesthetics and Religion . Verlag CH Beck, Munich 2003, p. 77
- ^ Werner Hofmann: Caspar David Friedrich. Natural reality and art truth . CH Beck, Munich 2000, ISBN 3-406-46475-0 , p. 61
- ↑ Birgit Verwiebe: Caspar David Friedrich - The Watzmann. SMB DuMont, Cologne 2004, p. 105
- ↑ Theodor Körner's Complete Works in One Volume , Leipzig undated, Reclam-Verlag, p. 96
- ↑ Hilmar Frank: Prospects into the immeasurable. Perspectivity and open-mindedness with Caspar David Friedrich. Akademie Verlag, Berlin 2004, p. 82
- ^ Jens Christian Jensen: Caspar David Friedrich. Life and work. DuMont Verlag, Cologne 1999, p. 89
- ↑ Hilmar Frank: Prospects into the immeasurable. Perspectivity and open-mindedness with Caspar David Friedrich. Akademie Verlag, Berlin 2004, p. 84
- ↑ Detlef Stapf: Caspar David Friedrichs hidden landscapes. The Neubrandenburg contexts . Greifswald 2014, p. 364, network-based P-Book
- ^ Herrmann Zschoche: Caspar David Friedrich. The letters . ConferencePoint Verlag, Hamburg 2006 p. 64
- ↑ Sigrid Hinz (Ed.): Caspar David Friedrich in letters and confessions. Henschelverlag Art and Society, Berlin 1974, p. 105
- ↑ Detlef Stapf: Caspar David Friedrichs hidden landscapes. The Neubrandenburg contexts . Greifswald 2014, p. 363 ff., Network-based P-Book
- ↑ Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011, p. 477
- ↑ Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011, p. 343
- ↑ Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011, p. 368
- ^ Helmut Börsch-Supan, Karl Wilhelm Jähnig: Caspar David Friedrich. Paintings, prints and pictorial drawings , Prestel Verlag, Munich 1973, ISBN 3-7913-0053-9 (catalog raisonné), p. 278
- ↑ Anonymous: Memories from the Dresden art exhibition from 1804. Journal des Luxus und der Moden 19, 1804, p. 239 f.
- ^ Gotthilf Heinrich von Schubert: Views from the night side of natural science. 1808, p. 303 f.
- ↑ Detlef Stapf: Caspar David Friedrichs hidden landscapes. The Neubrandenburg contexts . Greifswald 2014, p. 369, network-based P-Book
- ↑ Detlef Stapf: Caspar David Friedrichs hidden landscapes. The Neubrandenburg contexts . Greifswald 2014, p. 284 ff., Network-based P-Book
- ^ Carl Gustav Carus: Memoirs and Memories . Gustav Kiepenheuer Verlag, 2 volumes, Weimar 1965/66, Volume 1, p. 208
- ^ Carl Gustav Carus: Memoirs and Memories . Gustav Kiepenheuer Verlag, 2 volumes, Weimar 1965/66, p. 172 f., P. 552
- ↑ Martin H. Petrich: Philipp Otto Runge. Pomeranian life and country images. Part 2, Stettin 1887, p. 244 f.
- ^ Carl Gustav Carus: Napoleon in Fontainebleau by Paul Delaroche. In: Mnemosyne, Pfortzheim 1848, p. 127
- ^ Marianne Bernhard (ed.): Caspar David Friedrich. The entire graphic work. With an afterword by Hans Hofstätter. Verlag Rogner & Bernhard, Munich 1974, p. 7
- ↑ Sigrid Hinz (Ed.): Caspar David Friedrich in letters and confessions. Henschelverlag Art and Society, Berlin 1974, p. 82
- ^ Werner Hofmann: Caspar David Friedrich. Natural reality and art truth . CH Beck, Munich 2000, ISBN 3-406-46475-0 , p. 61
- ^ Helmut Börsch-Supan: Caspar David Friedrich . Prestel Verlag, Munich 1973 p. 84
- ^ Werner Hofmann: Caspar David Friedrich. Natural reality and art truth . CH Beck, Munich 2000, ISBN 3-406-46475-0 , p. 63
- ↑ Detlef Stapf: Caspar David Friedrichs hidden landscapes. The Neubrandenburg contexts . Greifswald 2014, p. 332, network-based P-Book
- ↑ Helmut Börsch-Supan: Comments on Caspar David Friedrich's “Monk by the Sea” . In: Journal of the German Association for Art History XIX, 1965, p. 63 f.
- ↑ Helmut Börsch-Supan: Comments on Caspar David Friedrich's “Monk by the Sea” . In: Journal of the German Association for Art History XIX, 1965, p. 65
- ↑ Detlef Stapf: Caspar David Friedrichs hidden landscapes. The Neubrandenburg contexts . Greifswald 2014, p. 209, network-based P-Book
- ↑ Malve Countess Rothkirch: The "romantic" on the Prussian throne. Portrait of King Friedrich Wilhelm IV. 1795-1861 . Droste Verlag, Düsseldorf 1990, p. 27
- ^ Herrmann Zschoche: Caspar David Friedrich. The letters. ConferencePoint Verlag, Hamburg 2006 p. 203.
- ^ Matthias Gärtner: The relations of Friedrich Wilhelm IV. Of Prussia to New West Pomerania and Rügen. In: Yearbook of the Prussian Palaces and Gardens Foundation Berlin-Brandenburg. Akademie Verlag, Berlin 1995/1996, p. 134.
- ↑ Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011, p. 384
- ↑ Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011, p. 556
- ↑ Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011, p. 883
- ^ Exhibition catalog: Carl Gustav Carus. Nature and idea . Deutscher Kunstverlag, Dresden 2009, pp. 42–45
- ^ Hans Joachim Neidhardt: Caspar David Friedrich and the painting of the Dresden Romanticism. Articles and lectures . EA Seemann Verlag, Leipzig 2005, p. 63 ff.
- ^ Paris H. (ie Janette von Haza): First impressions of a layperson at the first Leipzig art exhibition in 1837 . Leipzig 1838, p. 51 f.
- ^ Nina Hinrichs: Caspar David Friedrich - a German artist from the north. Analysis of Friedrich's reception in the 19th century and under National Socialism . Publishing house Ludwig, Kiel 2011.
- ↑ Theodor Körner's Complete Works in One Volume . Reclam, Leipzig n.d., p. 96
- ↑ Thorsten Valk: The picture viewer as a reproducing artist. Intermedial reception strategies in Friedrich's Todtenlandschaft by Theodor Körner . In: Yearbook of the Free German Hochstift, 2008, pp. 207–229
- ↑ Markus Engelstädter: Melancholy and North. Studies on the development of an elective affinity from antiquity to Caspar David Friedrich . Hamburg 2008, p. 285.