The wanderer over the Nebel sea

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The Wanderer Above the Sea of ​​Fog (Caspar David Friedrich)
The wanderer over the Nebel sea
Caspar David Friedrich , around 1818
Oil on canvas, unsigned
94.8 x 74.8 cm
Hamburger Kunsthalle

The Wanderer Above the Sea of ​​Fog is a painting by Caspar David Friedrich from around 1818 . The unsigned painting in oil on canvas in the format 94.8 x 74.8 cm is in the Hamburger Kunsthalle . The wanderer is the painter's most famous figure from the back. In the modern media reception, the image has become a widely used symbol of romanticism and an icon of German consciousness.

Image description

Image detail, back of the head of the hiker

The painting shows a man in dark green clothes, in an upright posture on a mountain, leaning on a rocky peak of a mountain range, looking out over the sea of ​​thick fog. More bare rocks or rocks overgrown with isolated trees protrude above the veils of milky haze. In the distance, mountain cones of a low mountain range rise. The hiker cannot be recognized as a person. The man is of a slightly stocky stature and his curly reddish brown hair is blown by the wind. It is turned a little to the left, towards the highest peak. With his feet still in the ascent, he finds support on the rugged ground. The torn mist shape obscures the abyss and indicates a morning.

Structure and aesthetics

The painting can be seen as a constructive composition, as a montage with strong theatrical features. The picture is built up in two layers. The dark rock and the hiker in the backlight are set like a backdrop in front of the bright panorama of the mountains that develop towards the horizon. The human figure was placed in the center of the composition. Symmetrical mountain lines sloping down to the right and left to the center converge into the heart of the hiker. The fog banks also shine horizontally and diagonally on the focus position. The upper horizontal line of the golden section marks the hiker's eye level. The figure seems to take in the landscape. The mountain lines form the limit of what can be visibly differentiated. Behind it, the blurring internal structure creates an infinite distance. Despite the backlight contrast, the colors of the brown and gray overgrown rock and the hiker's dark green clothing appear highly differentiated; this is the area that the observer can grasp. That which is no longer tangible begins with the fog. Some of the rocky peaks cut off by the mist look like rocks that have been thrown down. The hazy, frayed white tint, criss-crossed by yellow, brown, purple and green traces, forms layers up to the sky. Only at higher altitudes does more blue mix with it. The present sandstone rock in the foreground forms a triangular or pyramid geometry and forms a base for the monument pose of the hiker.

The back figure

Jan Vermeer van Delft: Allegory of the Art of Painting , around 1665/1666

The figure on the back , newly established by Friedrich for landscape painting, is positioned in an unusual way in the hiker above the sea of ​​fog . Nobody in front of him placed such a large back figure in the landscape and exactly in the center of the composition. The impression of depth is reinforced in the use of rock and man as a repoussoir against the light. The back figure directs the viewer's attention into the seemingly endless distance of the background, illustrates a nature-human relationship or makes meaningful offers for the viewer's thinking and feeling. Werner Hofmann assigns the figure on the back with Friedrich the task of the intermediate carrier, with the help of which the artist turns to the viewer. She sets expectations and asks questions both to the place assigned to her and to the viewer. For Hartmut Böhme, the compositional centering of the natural space on the hiker imagines the collapse of man and nature. In this case, the back figure is more decisive than in other works by the painter for content and image structure. It has the function of a "surface figure" that is integrated into the landscape and contributes to the removal of the image boundaries. It must have a certain size ratio to the image size in order to grasp the landscape view axially. Friedrich stands with the double look, the reflexivity in the picture, the figure of seeing of seeing in the tradition of the 17th century, which with the allegory of the art of painting by Jan Vermeer had an impact in art history.

“Close your physical eye so that you see your image first with the spiritual eye. Then bring to light what you saw in the dark, so that it affects others from the outside in. "

- Caspar David Friedrich

Work title and image interpretation

Work title

The description " The Wanderer Above the Sea of ​​Fog " was only created in 1950 after the painting was discovered. An inspiration for the later choice of title was possibly the name of the lost painting in oil The Eagle above the Sea of ​​Fog , which Gotthilf Heinrich von Schubert saw in Friedrich's studio in 1806 and describes in his memoirs in 1855 - “ …; for him a picture of the history of the fatherland at that time. "

interpretation

The wanderer over the sea of ​​fog lends itself to interpretations that utilize an obvious sense. A life allegory that uses the image of the peak reached as the goal of life is just as obvious as the transcendent look into the future. The painting is seen as a pictorial metaphor for life and premonition of death, limitation and vastness, height and abyss, this world and hereafter, belief and error, God and the world. The fact that the figure wears a frock coat, the cut of which can be interpreted as an old German costume , leaves room for the political interpretation of making the hiker a German patriot. Jens Christian Jensen points to the real level of interpretation, Friedrich could replicate his experience as a nationally oriented hikers in the Giant Mountains, in the resin or in Saxon Switzerland.

The mountains

Landscape pass for Caspar David Friedrich (photocopy), issued May 6, 1799

The definition of the landscape is important for the interpretation of the picture, because Friedrich relies mainly on motifs from Saxon Switzerland in the painting . The picture combines a boulder from the foot of the Kaiserkrone , the Gamrig near Rathen (middle ground left), parts of the view from the Wolfsberg near Krippen , the Zirkelstein , which is not very wooded as a signal station (right) and a Bohemian cone mountain ( Rosenberg or Kaltenberg , left). Friedrich hiked in Saxon Switzerland in July, August and September 1800. There are drawings from this landscape from 1808 and 1812. From March to May 1813 the painter lived in cribs with his friend Friedrich Gotthelf Kummer in order to avoid the French occupiers in Dresden . He was there for some time in 1814 for fear of contagious diseases. The landscape passport that Friedrich needed to draw in Saxon Switzerland has been preserved in the Saxon State Archives in Dresden.

  • Imperial crown seen from the foot of the circle stone

  • View of the Gamrig

  • View from the Kaiserkrone south-southeast to the Zirkelstein

  • Rosenberg

  • Evening mood on the Kaltenberg

The unknown wanderer

Friedrich Ernst von den Brincken, Kursächs. Chamberlain († 1797), around 1785

The identity of the hiker on the mountain top is of great interest in the history of the reception of the picture. The assumption that Friedrich wanted to express his own peak experience suggests that the painter portrayed himself.

According to Ludwig Grote , the stature could be Goethe, or at least he is of the opinion that Friedrich painted “ Landscape and Hour ” with “ the spirit and heart ” of the poet. But he also recognizes the uniform of a volunteer hunter in the skirt and considers the hiker to have fallen in the Wars of Liberation (1813 to 1815).

According to a note from the art historian Karl Wilhelm Jähnig (1888–1960), the gallery owner Wilhelm August Luz (see below provenance ) received the information from the - unknown - previous owner that the sitter was a Herr von Brincken , a high Saxon forest official. Since such a person cannot be proven, the Saxon chamberlain Friedrich Ernst von den Brincken († 1797) or the colonel of the infantry Friedrich Gotthard von den Brinken († 1802) are suspected. For Helmut Borsch-Supan it can only be a dead, which the painting is dedicated as a memory image in a standing above the clouds people in Denkmalpose. Börsch-Supan deduces from the composition - the peculiar adaptation of the mountain landscape to the figure of the man - the possibility of trying to express man's image in the image of God.

Hans Joachim Neidhardt considers the search to be idle and indecent, to want to explore the name of the hiker. What Friedrich had raised in general terms should not be brought back into the private sphere.

“The person on the summit is also the person on the precipice that lies before him. But the abyss is shrouded in fog. He hides the future that is withdrawn from the mortal eye. "

- Hans Joachim Neidhardt

criticism

The back image - according to Jens Christian Jensen - “must be viewed as artistically unsuccessful. [...] The realistically conceived large figure has a strange misunderstanding of immeasurable nature. Because of the overemphasis on the contrast between light and dark, it seems out of place and a bit tasteless. Friedrich did not achieve his goal of "matching the whole" here. "

Provenance

Surfaced's Wanderer above the Sea of Fog "- about before 01.09.1939" founded in 1935, thriving Berlin's "Gallery Dr. WA Luz - Paintings of German Masters ”, whose owner Wilhelm August Luz (1892–1959) held a leading role from 1937 as an expert and appraiser for works of art of Jewish property (Jewish property tax ) at the Reich Chamber of Fine Arts . "Min. from 1943 to 1945 ”the work of art was in the“ Ernst Henke Collection ”in Essen, which also owned Friedrich's Sunset behind the Dresden Hofkirche and then in the Oetker family collection , Bielefeld. The picture was first published under the title Der Wanderer über dem Nebelmeer with a color plate and was described by Ludwig Grote in the magazine Die Kunst und das Schöne Heim in August 1950 . The painting was presented to the public for the first time in the summer of 1959 on loan - "Lent from a private collection" - at the London Tate Gallery under the title: "Mountaineer in a misty Landscape" . “Until 1961” the painting was with the Bielefeld art dealer and fatherly friend of Rudolf-August Oetker , Paul Herzogenrath († 1961), the father of Wulf Herzogenrath , who had long been associated with the Oetker family . Until 1970 it was in the "Hugo Oberwelland Collection" of the Storck manufacturer in Halle, Westphalia.

Criticism of authenticity

Under questioning the dating, authorship, the time and place of appearance, but also the person who is the painting "- about before 1/9/1939" (war broke WW2 first time) - fresh from the market - offered on the art market, is a source of criticism of Wanderers above the sea of ​​fog . Only about 120 years after its ascribed dating (see the dating history ) and also ascribed to it - because unsigned - and shortly after Fritz Nemitz, in his folkish reading “Die infendliche Landschaft”, published in 1938, a lost Friedrich painting with the title “ The eagle above the sea of ​​fog ”mentioned in passing, a painting with a figure from behind appeared on a rocky peak above thick fog (at that time still untitled). It should also be taken into account that the loss of over 3,000 paintings in the major fire in the Munich Glass Palace in 1931 and the vacuum created on the walls of museums and public exhibitions due to the confiscation of degenerate art in 1937 inevitably led to the demand for völkisch- romantic objects was far greater than the offer.

Purchase for the Hamburger Kunsthalle

From the "Kunsthaus Bühler" in Stuttgart, acquired in December 1970 Foundation for the Advancement of the Hamburg art collections for 600,000 German marks the Wanderer above the Sea of Fog ; whereby the Hamburg patron Kurt A. Körber initially bought the picture from the Bühler gallery and the foundation then replaced the debt at Körber a few years later.

The purchase was made on the advice of the then relatively new Hamburger Kunsthalle director Werner Hofmann with the argument that the focus of a collection should always be expanded, which applies to both artistic trends and personalities. Hofmann was of the opinion that “this typical pathos formula ( Warburg ) ” was missing from the other pictures in the current collection. He argued that such an expression only once the 1931 Munich Glass Palace burnt hamburger picture "The Augustus Bridge in Dresden" could be found and you will now compensate for this loss by purchasing the "Wanderers" again. - See also the loss of 17 loans from the Hamburger Kunsthalle and the special exhibition “ Works of German Romantics from Caspar David Friedrich to Moritz von Schwind from 1931” . - Within Hamburg's Friedrich collection, the “Wanderer” became the twelfth picture in the Kunsthalle.

Dating history

Different opinions are represented in the dating story of The Wanderer above the Sea of ​​Fog . The first dating to "1815" - with reference to motifs from sketches and studies - comes from Ludwig Grote (1950), who incidentally did not fail to mention the occasionally questioned " authorship of Friedrich" in his essay . Marianne Prause (1963) also adopted the date Grotes. Willi Geismeier (1966) advocated dating “around 1820” and Werner Sumowski (1970) classified the hiker “before 1818”. According to Helmut Börsch-Supan (1973), the painting can be classified “most likely around 1818”. Helmut R. Leppien (1993), referring to Marianne Prause (see below Effects in Art ), introduced the date “around 1817” for the Hamburger Kunsthalle, which the Wanderer first introduced in 2006/2007 with the classification “around 1818” in the Caspar David Friedrich The invention of romanticism showed.

The owner - the Foundation for the Promotion of the Hamburg Art Collections - dates the painting “around 1817” (as of March 2015) and acquired it in 1970 on the basis of “ around 1815 ”.

Sketches and studies

Three sketches and studies that were made during his wanderings in Saxon Switzerland and in Bohemia are the main evidence for the assumption that Friedrich is the author of the figure from behind "above the sea of ​​fog".

In the painting, the central rock in the foreground, on which the figure from the back stands, is undoubtedly similar to that of the pencil drawing Felsige Kuppe dated June 3, 1813, which - according to current knowledge - is said to come from the Krippen sketchbook , but which was dissolved at an unknown point in time; its binding no longer exists either. The drawing is said to have been made in the war summer of 1813, which ended in the Battle of the Nations near Leipzig , the decisive battle of the Wars of Liberation against Napoleon Bonaparte . The rock group shown is at the entrance to the Imperial Crown coming from Schöna in the Saxon Switzerland-Eastern Ore Mountains district . The left mountain in the middle distance can be found in the pencil drawing of rock formation in the Elbe Sandstone Mountains from May 13, 1808. The motif was localized as Gamrig rock near Rathen . For the mountains in the background, the painter used the pencil drawing to create landscape studies from 9/12. May 1808 the fourth study from above used. The view from a rocky plateau to the north-east above the Prebischtor to the nearby Rosenberg is localized here .

  • Rock group on the imperial crown , which served as a template for the pedestal of the hiker

  • Caspar David Friedrich: Rocky Dome , 1813

  • Caspar David Friedrich: Rock formation in the Elbe sandstone , 1808

  • Caspar David Friedrich: Landscape Studies , 1808

Classification in the overall work

Friedrich has systematically developed the isolated back figure in the landscape, especially in his paintings, since 1807. In the case of the sea ​​beach with fisherman (1807) or the monk by the sea (1810), the painter was evidently concerned with the effect of an anonymous person in the context of the motif. The painter's intention has evidently changed with the woman in front of the setting sun (1817) and the wanderer over the sea of fog. Here one can assume a personalization of the back figure, which also requires a greater presence in the picture composition and a clearer characterization. The wanderer above the sea of ​​fog is just as unique in the overall work as The Monk by the Sea . With the Wanderer on the Rock, a type of figure has also been introduced that can be found around 1818 in the paintings Gartenlaube , Chalk Cliffs on Rügen , Auf dem Segler and Two Men Contemplating the Moon . Friedrich has also occupied himself with the fog-mountain motif since the Sepia Mountains in the Fog of 1804 at the latest . In comparison to the painting Morning Fog in the Mountains (1808), the use of the back figure for the landscape effect can be measured.

  • Caspar David Friedrich: Sea Beach with Fisherman , 1807

  • Caspar David Friedrich: The Monk by the Sea , 1810

  • Caspar David Friedrich: Women in front of the setting sun , 1818

  • Caspar David Friedrich: Gazebo , 1818

  • Caspar David Friedrich: Chalk cliffs on Rügen , 1818

  • Caspar David Friedrich: On the Sailor , 1818

  • Caspar David Friedrich: Two men contemplating the moon , 1819/20

  • Caspar David Friedrich: Mountains in the fog , 1804

  • Caspar David Friedrich: Morning mist in the mountains , 1808

Effects in art

Carl Gustav Carus: Clouds of Fog in Saxon Switzerland , around 1828
Carl Gustav Carus:
The Rest of a Pilgrim , 1818

Carl Gustav Carus gave an immediate reaction to the hiker above the sea of fog . After Marianne Prause, the temporary Friedrich friend (1817–1828) painted a paraphrase of the wanderer with his painting Peace of the Pilgrim from 1818 . Carus was also interested in the fog-rock motif, as shown in the oil paintings The Pilgrim, Moving East (1824) or Fog Clouds in Saxon Switzerland (1828).

In the 20th century, René Magritte created effects of the back figure in the landscape comparable to that of Friedrich with the wanderer .

reception

In the history of modern reception, the wanderer over the sea of ​​fog, like Eugène Delacroix's freedom, has become a passe-partout symbol that is used for different purposes. Through the edge situation, the summit experience, the threat from the abyss, the physical end of a path of discovery or the open-mindedness of the motif, the hiker can be projected into different contexts or captured for it. The wanderer has found a place on magazine titles, record covers, book covers and in advertising . Caricatures satirize the motif.

German postage stamp with The Wanderer above the Sea of ​​Fog as a motif (2011)
  • On the cover of the news magazine Der Spiegel No. 19 from May 18, 1995, the mountain climber dressed in urban clothing looks at a hodgepodge of icons under a black, red and gold rainbow that are supposed to represent the calamity of German history. Today this montage of images is considered a trivial icon of German consciousness.
  • In 1996, Deutsche Grammophon provided a record cover with the Wanderer above the Sea of ​​Fog for Franz Schubert's Wanderer Fantasy . The composition was created in 1822 and is also a work of Romanticism.
  • The book cover of Benjamin Constant's novel Adolphe, written in 1806, was printed with a picture of the Wanderer.
  • The poster for the first all-German congress of the Association of German Writers (VS) in the IG Medien 24. – 26. May 1991 in Lübeck-Travemünde connected the Hölderlin line Come! open, friend! with an image montage of the hiker .
  • In Robert Löhr's novel The Erlkönig Maneuver , Johann Wolfgang von Goethe finds himself in the pose of a wanderer on the cliffs of Kyffhauser .
  • The picture was used as the album cover of the album Anthem against Will of the German rock band Laternen-Joe .

On January 3, 2011, the Federal Republic of Germany issued a 55-cent postage stamp in the series “German Painting” with the motif “The Wanderer above the Sea of ​​Fog”, see the Federal Republic of Germany's 2011 stamps .

  • The computer game Minecraft also uses the motif of the wanderer in the game block "Image".
  • In 2014 the painting served as a template for a photomontage for an English campaign for offshore wind power.
  • On October 8, 2015, due to the refugee crisis in Germany, the cover picture of the weekly magazine Stern appeared with the hiker and refugees emerging from the sea ​​of fog .
  • The English stand-up comedian Stewart Lee uses the work as a highlight in his special "Stewart Lee: Content Provider" to illustrate the egocentricity of millennials and their "selfi obsession".

Experience in nature

On the Caspar-David-Friedrich-Weg in Saxon Switzerland , starting in cribs, the natural area of ​​the hiker and the painter's views can be experienced.

literature

  • Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011
  • Hartmut Böhme: Figure from behind with Caspar David Friedrich . In: Gisela Greve (Ed.): Caspar David Friedrich. Interpretations in dialogue . Edition discord, Tübingen 2006
  • 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
  • Karl-Ludwig Hoch : Caspar David Friedrich in Saxon Switzerland , Verlag der Kunst, Dresden 1996
  • Sigrid Hinz (Ed.): Caspar David Friedrich in letters and confessions . Henschelverlag Art and Society, Berlin 1974
  • 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)
  • Ludwig Grote: The wanderer above the sea of ​​fog . In: Art and the beautiful home 48, 1950
  • Carlos Idrobo: He Who Is Leaving… The Figure of the Wanderer in Nietzsche's Also sprach Zarathustra and Caspar David Friedrich's Der Wanderer über dem Nebelmeer, in: Nietzsche Studies Volume 41, Issue 1, Pages 78-103, ISSN (Online) 1613- 0790, ISSN (Print) 0342-1422, doi : 10.1515 / niet.2012.41.1.78 , November 2012.

Web links

Commons : The Wanderer Above the Sea of ​​Fog  - Collection of images, videos and audio files

Individual evidence

  1. ^ Werner Hofmann: Caspar David Friedrich. Natural reality and art truth . CH Beck, Munich 2000, ISBN 3-406-46475-0 , p. 9
  2. ↑ Hartmut Böhme: Figure from behind with Caspar David Friedrich . In: Gisela Greve (Ed.): Caspar David Friedrich. Interpretations in dialogue . Edition discord, Tübingen 2006, p. 54
  3. ^ Helmut R. Leppien: Caspar David Friedrich in the Hamburger Kunsthalle . Stuttgart 1993, p. 16
  4. ^ Helmut R. Leppien: Caspar David Friedrich in the Hamburger Kunsthalle . Stuttgart 1993, p. 16
  5. ^ Werner Hofmann: Caspar David Friedrich. Natural reality and art truth . CH Beck, Munich 2000, ISBN 3-406-46475-0 , p. 10
  6. ↑ Hartmut Böhme: Figure from behind with Caspar David Friedrich . In: Gisela Greve (Ed.): Caspar David Friedrich. Interpretations in dialogue . Edition discord, Tübingen 2006, p. 55
  7. ^ Regine Prange: Reflection and vision in the work of Caspar David Friedrich. On the relationship between surface and space . In: Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 34, 1989, pp. 280-310.
  8. ↑ Akane Sugiyama: Wanderer under the rainbow - Caspar David Friedrich's figure from behind . Dissertation, Berlin 2007, p. 12
  9. ↑ Sigrid Hinz (Ed.): Caspar David Friedrich in Letters and Confessions, Henschelverlag Art and Society, Berlin 1974, p. 92
  10. ↑ Ludwig Grote: " The Wanderer Above the Sea of ​​Fog ". In: Art and the beautiful home 48, 1950, p. 402
  11. ^ Helmut R. Leppien: Caspar David Friedrich in the Hamburger Kunsthalle. Stuttgart 1993, p. 18, footnote
  12. ^ Fritz Nemitz Caspar David Friedrich. Die infendliche Landschaft (1938), page 19/20, there reference to a conversation that took place between Gotthilf Heinrich von Schubert and CDF in October 1806 before a work with the title "Der Adler über dem Nebelmeer" (lost)
  13. ↑ Werner Sumowski: Caspar David Friedrich Studies, Wiesbaden 1970, p. 190, catalog number 60, 1806, The eagle over the sea of ​​fog .
  14. ^ Karl-Ludwig Hoch: Caspar David Friedrich in Sächsische Schweiz , Verlag der Kunst, Dresden 1996, p. 58
  15. ^ Wilfried Lipp: Culture of preserving. Angular views for the preservation of monuments . Böhlau, Vienna 2007, p. 83
  16. ↑ Ludwig Grote: The wanderer over the sea of ​​fog . In: Art and the beautiful home 48, 1950, p. 400 ff.
  17. ^ Jens Christian Jensen: Caspar David Friedrich. Life and work. DuMont Verlag, Cologne 1999, p. 146
  18. ^ Karl-Ludwig Hoch: Caspar David Friedrich in Sächsische Schweiz , Verlag der Kunst, Dresden 1996, p. 58
  19. ^ 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. 159
  20. ^ Passport for Caspar David Friedrich , Dresden, Sächsisches Staatsarchiv, KA 63, 90
  21. ^ Peter Rautmann: Caspar David Friedrich. Landscape as a symbol of a developed bourgeois appropriation of reality . Peter Lang, 1979, p. 84
  22. ↑ Ludwig Grote: The wanderer over the sea of ​​fog . In: The art and the beautiful home 48, 1950, pp. 401 + 403
  23. ^ 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. 349
  24. ↑ Hans Joachim Neidhardt: Friedrich's "Wanderer above the Sea of ​​Fog" and Carus "Pilgrim's Peace". The motif of the summit experience in romanticism . In: Ars auro prior. Studia loanni Bialostocki sexagenariodicta, Warsaw 1981, p. 609
  25. ^ Jens Christian Jensen: Caspar David Friedrich. Life and work. Chapter 25, p. 201, DuMont Verlag, Cologne 1974 (first edition), ISBN 3-7701-0758-6
  26. ↑ Museum Plus, zetcom computer science services AG, Hamburger Kunsthalle, Caspar David Friedrich, HK-5161 Wanderer above the Sea of Fog, provenance (7 pages)
  27. ↑ The Berlin Gallery Dr. Wilhelm August Luz during the Nazi Regime and in the Postwar Years Provenance research, Ulrike Gärtner and Sibylle Ehringhaus (2011) ( Memento of the original from February 21, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.dortmund.de
  28. ^ Sibylle Ehringhaus, Dr. WA Luz , accessed on February 21, 2015 ( Memento of the original from February 21, 2015 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. @1@ 2Template: Webachiv / IABot / www.revidet.de
  29. ↑ Lot 17: Caspar David Friedrich, 1774-1840 19th Century Paintings, including German, Austrian and Central European Paintings, and The Scandinavian Sale by Sotheby's June 13, 2011, accessed on February 21, 2015
  30. ↑ Ludwig Grote: The wanderer over the sea of ​​fog . In: Die Kunst und das Schöne Heim 48, 1950, p. 400 (cover picture) and p. 401–404 and
  31. ^ Exhibition catalog: The Tate Gallery and the Arts Council Gallery London. "The Romantic Movement: Fifth Exhibition to Celebrate the Tenth Anniversary of the Council of Europe, July 10 to September 27, 1959". Note: Member of the Advisory and Hanging Committee for the London Exhibition may have been a. Ludwig Grote , notes p. 8,9; Image description p. 132; Fig / plate 67 p. 505
  32. ^ Rüdiger Jungbluth : Die Oetkers, pp. 225, 239 and 240
  33. ↑ September 27, 1968: The "Richard-Kaselowsky-Haus - Kunsthalle der Stadt Bielefeld" opens. Bernd J. Wagner, Bielefeld City Archives and State History Library, accessed on February 21, 2015
  34. ↑ Festschrift 50 Years Herford Art Association , Wulf Herzogenrath: Page 30/31
  35. ↑ The name counts - and it pays off , welt.de of July 19, 2008 , accessed on February 5, 2016
  36. ^ Fritz Nemitz Caspar David Friedrich. Die infendliche Landschaft, (1938), page 19/20, there reference to a conversation that took place between Gotthilf Heinrich von Schubert and CDF in October 1806 before a work entitled "" The Eagle above the Sea of ​​Fog ""
  37. ↑ Inestimable value for the Kunsthalle , Historisches Archiv Hamburger Abendblatt, No. 286 of December 9, 1970, page 10 (accessed on January 12, 2015)
  38. ↑ One doesn't talk about prices DIE ZEIT, March 19, 1971 No. 12 accessed on February 21, 2015
  39. ↑ Ambassador for the Kunsthalle in millions of copies Hamburger Abendblatt from January 3, 2011 (accessed January 12, 2015)
  40. ^ Foundation for the Promotion of the Hamburg Art Collections, Werner Hofmann: Neuerwerbungen 1970, page 16
  41. ↑ Ludwig Grothe: The wanderer over the sea of ​​fog. In: Die Kunst , XLVIII, 1950, p. 401
  42. ^ Marianne Prause: Carl Gustav Carus as a painter , Dis., Cologne 1963
  43. ↑ Willi Geismeier: On the importance and developmental position of a feeling for nature and landscape representation in Caspar David Friedrich . Dissertation, Berlin 1966, p. 94
  44. ^ Werner Sumowski: Caspar David Friedrich studies. Franz Steiner Verlag, Wiesbaden 1970, p. 84
  45. ^ 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. 349
  46. ^ Helmut R. Leppien: Caspar David Friedrich in the Hamburger Kunsthalle . Stuttgart 1993, pp. 16-18, quote: " If Carus saw the picture in Friedrich's studio in 1818 or 1817, he must have painted it around 1817 ".
  47. ^ Exhibition catalog Caspar David Friedrich The Invention of Romanticism in Essen and Hamburg, Hirmer Verlag, Munich (December 2006), p. 267
  48. ^ Foundation for the promotion of the Hamburg art collections, inventory, acquisition year 1970 The Wanderer above the Sea of ​​Fog
  49. ^ Foundation for the Promotion of the Hamburg Art Collections, Werner Hofmann: Neuerwerbungen 1970, page 16
  50. ^ Fritz Nemitz Caspar David Friedrich. Die infendliche Landschaft (1938), page 19/20, there reference to a conversation that took place between Gotthilf Heinrich von Schubert and CDF in October 1806 before a work with the title "Der Adler über dem Nebelmeer" (lost)
  51. ↑ Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011, p. 647
  52. ^ Karl-Ludwig Hoch: Caspar David Friedrich in Sächsische Schweiz , Verlag der Kunst, Dresden 1996, p. 58
  53. ↑ Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011, p. 541
  54. ^ Karl-Ludwig Hoch: Caspar David Friedrich and the Bohemian Mountains . Verlag der Kunst, Dresden 1987, p. 18
  55. ↑ Christina Grummt: Caspar David Friedrich. The painting. The entire work . 2 vol., Munich 2011, p. 533
  56. ^ Karl-Ludwig Hoch: Caspar David Friedrich and the Bohemian Mountains . Verlag der Kunst, Dresden 1987, p. 78
  57. ^ Marianne Prause Carl Gustav Carus Leben und Werk , Berlin 1968, pp. 13-16
  58. ^ Marianne Prause: Carl Gustav Carus. Life and work . Berlin 1968, No. 415, p. 16, fig. 4
  59. ^ Werner Hofmann: Caspar David Friedrich. Natural reality and art truth . CH Beck, Munich 2000, ISBN 3-406-46475-0 , p. 9
  60. ↑ Cover picture DER SPIEGEL 19/1995 from May 18, 1995
  61. ↑ Die Cover der Woche , horizont.de, October 9, 2015 , accessed on October 15, 2015