The Romantic movement, which found its expression especially in the literature of the early nineteenth century (Novalis, Tieck, Schlegel) is represented in the painting with special emphasis on the German Caspar David Friedrich, born in 1774 in Greifswald. After studying four years in Copenhagen, he moved for good in 1798, in Dresden. He achieved in his paintings the ideals of this artistic movement with a purity not achieved even by Runge or Nazarenes. His painting wants to renew the ethics of art, awakening the sense of reverence for the gods, which had been almost lost in the absolute monarchy. It is no coincidence that Caspar David Friedrich chooses as the subject of his paintings almost exclusively on the landscape: the landscape is, in fact, because of its proximity to God, his purity, and be becoming more and are enclosed in it, can become a symbol of the cosmos. The artist longs to be lost in this cosmos. It really does not Friedrich's landscapes are realistic landscapes, such as those that will be painted by the Impressionists and the Barbizon school, but just want to hold all of the nostalgia of the infinite, almost mystical feeling that distinguishes a romantic soul.
Friedrich once said that a painter should not paint only what he sees before him, but also what he sees in himself - and so it becomes easy to understand that he has faithfully portrayed the nature in any of his paintings; but has instead done first, which reported numerous sketches Then, in his study on the canvas. The force of romantic sensibility in his paintings is also shown on the grounds that he prefers to watch the sunrise, sunset or a moonlit night, or those hours which, unlike the clear day, they do not see things as they have no possibility of illusion, but the show becoming or perishing, leaving full freedom to the game of fantasy. Already in his first big picture, Mountain Cross, Altar of Tetschen, 1807, (Dresden, Gemäldegalerie) is a large cross in the background of the setting sun, over the top of a mountain. The deep religiosity of this picture strikes every time we watch it. In the paintings of Friedrich figure human appears rarely and, when it appears, is absorbed by nature, and has no other function than to be a bridge to the infinite, to attract the viewer's attention, making it more accessible to the actual content of the picture. They are almost always figures seen from behind, as the two men of the moon, or like the people who look at the ships anchored in the harbor, in the light of the evening of the day coming to an end. As a man, the artist was a loner, despite imolti honors, and even despite his friendship with the learned and versatile Carl Gustav Carus, the poet Ludwig Tieck, Gerhard Kuegelgen, and the painter Dahl.
LANDSCAPE BOEMI
Stuttgart State Gallery
Riesengebirge The mountains have always been inspired by Caspar David Friedrich magnificent landscapes. He spends in this region throughout the period of treatment, and found exactly what we always wanted to communicate to people through the language of art: I found the essence of the infinite and the way that leads to the intention of divine omnipotence. Also this mountainous landscape before us stands as a symbol of pure nature and unspoiled. The night is still sailing the meadows in the foreground and weaving its dark shadows of the forest, but in the valleys is distilled already incipient cold light of day that illuminates, without draw with accuracy, the topography of the region. Serrano, however, the precise contours of the mountains form, inclined towards the sky, which, in its transparency just misty, well makes the atmosphere of morning light. And it is the sky dominates the picture, although the high mountain, due to the two great solitary oak in the middle of meadows, to mark the center. But the way that leads to the summit is hidden and, even if it is reached, overcoming various heights on the right, there is rest, because the eye is pushed upwards in amplitude just guess the sky, from which the new struts day.
This dreamy sense, which is escape from the real thought is the essence of this and other paintings by the artist.
CDS-contrast discalzo@alice.it
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