04 Dec

Considerations on Caspar David Friedrich’s “The Stages of Life”

The period of the Romantic movement was a time in arts history that proposed people another way of approaching life than the one they had and of their everyday philosophy, pushing to put forward feelings, dreaming and emotions.

 

 

Romantic artists worked on creating beautiful works that would express the ineffable. One of the most renowned painters of the romantic time is Caspar David Friedrich. Together with other painters such as Karl Friedrich Lessing or Andreas Achenbach, Friedrich went to the Dusseldorf School for Painting. The school was very invested in teaching its students to create paintings that would put the accent on small details that were composing grandiose paintings that usually represented natural landscapes. The influence the school had on Friedrich’s work is thus quite clear, as his paintings contain many details. However, Friedrich brought a new way of looking at nature, and that was through the emotional filter of the painter. His paintings are allegories, where every detail is a piece of a puzzle the viewer is invited to decode.

Today, there are over 500 paintings attributed to Friedrich, one of the most known paintings being „The Stages of Life”, or, „Die Lebensstufen”, a title not given by Friedrich, but by the scholars who studied his works and life between the end of the XIXth century and the beginning of the XXth century.

In this 1835 painting, Caspar David Friedrich uses his brush to present us with his meditation over the passing of man through life. To do this, he carefully illustrated five boats lying at different distances one from the other and from the small people of different ages represented in the foreground.

At a first sight, the painting impresses through the strongly saturated, yet light colors of the sunset under which the scene develops. The composition of the painting features a great balance between the lines, the colors and the dark areas.

„Die Lebensstufen” shows a port at the Baltic Sea during sunset. While most of Friedrich’s paintings are not set in clear locations, this one has been pointed out to be set in Utkiek, a town nearby Greifswald, the town where the painter was born. Today, Greifswald is located in North-East Germany.

In the furthest level of the painting we see five ships on the water, then two adults and two children standing on a small hill and, in the front, an old man, holding his back to the viewer, walking toward the other characters. It becomes clear rather fast that the people are the reflections of the ships. Each of them is at a closer or further point from death.

The people in the painting have been identified as being the artist’s own family – the old man being the painter himself, the boy being his youngest son, Gustav Adolf, the girl being Agnes Adelheid, his daughter, and the older girl being his other daughter Emma. The man was identified as being his nephew, Johann Heinrich.

 

However, this painting is not a biographical piece. The characters presented in this painting, which can be described both as a landscape and a portrait (as many of Friedrich’s paintings can). The boats are mirrors of the people: the ones closer to the shore are similar to children, in that they don’t travel deep waters yet, while the boat located the furthest represents the old man who, after traveling on deep waters for a very long time, is slowly fading in the sunset.

„Die Lebensstufen” has a great atmosphere, which results from the careful color brushes. The spiritual beatitude conveyed by the painting is realized with the help of the glowing colors. The shades of blue, yellow and orange that fill the sky, we can see some soft gray lines that give a sense of tranquility and calmness. The dark soil is in strong contrast with the bold sky, thus placing the characters between two worlds.

This duality is also visible on a compositional level. The first axis that draws attention is represented by the line drawn by the mast of the biggest ship, which continues with the flag held by the children. Thus, the artist creates a painting where duality is expressed not only through chromatic choices, but also through composition. The dual nature of life, where people live between life and death, and good and evil is also described with the help of the line created by the people, which, when merged visually act like a thread of life, emotions and states. The left and the right of the painting are almost mirrored images, representing curved lines that draw more distant shores, in a way suggesting that we all go through many of the same human experiences.

At a closer look, we can analyze the direction in which the characters look. Thus, while it is not extremely clear, we can notice that the sailors in the first boat are looking at the characters, suggesting in a way the concept of looking back at a time of innocence, of origin, located in time maybe even before birth. The characters on shore, each representing a stage of life, look towards the direction they wish they would go or show an attitude towards the direction they are moving to. Thus, the young woman, who, as a sidebar, is dressed in the same colors as the children, looks towards them, caring for them, while the children are immersed in their own world. The younger man is facing the old man angrily and makes a hand gesture that can be interpreted in more ways: is he accepting him, is he telling him to stay there? The old man, while we cannot see his face can be described as serene, due to his posture. Moreover, he is the only character that seems to be detached from the group.

Next to them, we can see an upside down boat, which most likely symbolizes the generations to come.

 

For a more in-depth analysis of any cultural product, we must take a look at the cultural and political context in which it was made. Thus, the first thing we notice is the Swedish flag. Knowing that the painting is set in Germany, Sweden is the country on the other shore. This country has had a very important role in the history of the town of Greifswald. Caspar David Friedrich considered himself to be half Swedish, as when he was born, Greifswald was part of Sweden. From a compositional point of view, the flag is placed at the very center of the painting. This can be interpreted as being a symbol for the concept of home. With the risk of pushing the boundaries of interpretation, the flag gives circularity to the painting. Because the flag is present before the sea and the actual country of Sweden is across the sea, the image may be indicating that we start from a symbolic „home” and end up at a physical „home”.

The artist uses a common theme, namely a maritime theme to speak about life as a journey, as a sea exploration and as a symbolic fishing experience. Thus, Friedrich invites the viewer to join him in a thoughtful contemplation on the nature of life, exploring the depths of the human soul.

Merging hope, happiness, sadness and a strong longing for the ethereal, Caspar David Friedrich’s painting is a masterpiece of the world’s visual culture.

 

 

29 Nov

Consideration’s on Caspar David Friedrich’s “Mountain Landscape with Rainbow”

Caspar David Friedrich was a German painter who lived in the XIXth century and who is considered one of the most important Romantic artists. His paintings are known for being charged with codes and allegories with religious allegories.

 

 

This is also the case in the painting titled “Mountain Landscape with Rainbow”, “Gebirgslandschaft mit Regenbogen” in original, which Friedrich painted in 1809-1810. In this work, Caspar David Friedrich presents us with an image filled with symbols and significations.

“Mountain Landscape with Rainbow”, which is currently on display at the Folkwang museum in Essen, conveys a sensibility typical for Caspar David Friedrich. On a descriptive level, the painting presents a few mountains under a very dark sky, cut by a very bright rainbow in the upper half of the painting and, in the lower half, a traveler who is contemplating the landscape in awe.

The traveler, lit by twilight is in strong contrast with the nature depicted in the painting, which is gaudy and dark.

The painting can be seen as having three juxtaposing layers. These layers can each be interpreted as symbols, and are connected to each other. The first layer is the space where the man sits. The secondary layer is the layer where the trees and mountains are placed. These can be interpreted as being the challenges one man needs to go through in life. The reason behind this interpretation lies in the geometry of the painting. The trees and mountains are all triangles, both large and small – a geometric shape that can stand for the ladders one needs to climb. Also, their dark colors recommend them as being something mysterious and unknown, but also as something dangerous. The chromatic of the landscape comes in stark contrast with the man, thus conveying the message that man is always faced with the challenges his environment brings. However, the relaxed pose of the man, who, while in awe, seems to be quite calm, shows that man can take on life, in the right conditions, which brings us to the third level. The third layer is the rainbow. The fine line that crosses the frame from one end to the other can be regarded as a state of continuity and order, both of which are characteristics of divinity.

Thus, Friedrich conveys the message that man can go through the challenges of life if lit by the hope of divinity. As the mysteries of life unfold before his very eyes in the shape of deep, dark and heavy clouds, the light of divinity is what balances them out, which ensures the continuity of the life of humans.

The rainbow usually represents the everlasting covenant between divinity and humans, but in this case, while that could still apply, we can see a white rainbow and not one composed of seven colors. This could suggest a presence of the Good, rather than a connection between man and his creator.

Caspar David Friedrich’s works are meant to convey memories of thought, emotions and states that words fail to describe.

While this painting can have many interpretations, one can be considered as the ultimate reading of this work. The conclusion is quite simple. Man lies between the darkness ahead and the light above and, whether he chooses to stand in the light that falls down over him is ultimately his choice.

 

 

27 Oct

Horses of Nepal Book

The Royal Library of Denmark has a book catalogued as “Illustrated work with horses from Nepal”.  The book is mysterious in nature, given that the Library’s website does not feature any background information on it.

However, it does seem to be a copy or a derivate work of “A Treatise on the Nature and Illnesses of Horses”,  Asvasastra, Nepal, 18th Century.

 

 

 

01 May

Composing Worlds with Nurit David

Nurit David is an Israeli artist whose body of work covers several decades. She has worked with various mediums and composed coherent worlds that are highly intriguing. While most of her works are not collages per se, they have a collage quality, where concepts and ideas, as well as different emotions meets. And this is where the strength of her works lie: Nurit David’s aesthetic is balancing contrasts between the inner worlds of people and their outside expression. Her paintings in particular are characterized by a harmonious tension, where items seem to lie and rely on each other, giving shape to something that is condensed and balanced.

 

Nurit David has authored many single-person exhibitions and has been part of many group exhibitions. She has won numerous awards, including the 2003 Minister of Culture and Education Prize for Art and Design.

Her works can be seen today throughout Israel and the world, including in the The Israel Museum of Jerusalem and the Tel Aviv Museum of Art.

Discover our selection of her works below:

 

Building a Summer House II

 

Nurit David? No, I don’t remember

 

 

Sea for Girls

 

The Wheel

 

Monks Playing in a Garden

 

Gathering Dry Leaves

 

Websites:

nuritdavid.com
www.givonartgallery.com

11 Mar

Representations of Political Power

Constructing power

In the course of history, power has always had one of the most important roles in arts and cultural products. The methods of framing and visually constructing power have been carefully created and developed. Even though we might think that the ancient Egyptians and Greeks had more naive ways of representing the idea of power, this is quite false. Even back in ancient times, artists had developed specific mechanisms to express the power of the leaders of their time.

It is of great interest to notice how power has usually been conveyed through some specific and consequent means.  Specific gestures, colors, clothes, objects and references constitute universal symbols of power in Western art. Upon a certain investigation in visual representations of power, one notices that artists usually mix two or three of these elements to express the strength of a leader.

Strong charcters have been for the most part of arts history real historic figures, but as the arts developed, more and more fictional characters have become ideals of power.

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