卡斯帕·大卫·弗里德里希（Caspar David Friedrich 1774-1840）.德国伟大的浪漫主义画家，1774年9月5日出生于德国格雷夫斯瓦德港市，早年在哥本哈根美术学院学习，后来定居德累斯顿。那里他过着平静的活，有时会去波西米亚的山区和湖泊旅行。性格忧伤而内省，喜欢依靠己的沉思来唤起创作的灵感。曾说：“当你闭上肉体的眼睛，你就第一次能够用心灵眼睛观察你的绘画。”他一开始用铅笔绘制风景，直到1807年才进行油画创作。他的题材开辟了风景绘画新的领域，发现了人们从未发现的新的自然：无穷无尽的海洋或山脉、大雪覆盖的山地，以及照在上面的阳光或月光。他很少用宗教形象，但是风景画传达了崇高的精神力量。19世纪晚期随着象征主义的兴起，他的艺术受到人们高度评价.
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卡斯帕大卫弗里德利希出生于1774年9月5日格赖夫斯瓦尔德,瑞典的波美拉尼亚,在波罗的海德国的海岸。第六的十个孩子,他是在严格的长大路德他父亲阿道夫·戈特利布·弗里德里希的信条蜡烛制造商锅炉和肥皂。记录家庭的财政状况是矛盾的,虽然有消息表明孩子们私下辅导,其他人则记录在相对贫困。卡斯帕大卫从小熟悉死亡。他的母亲,苏菲桃乐丝本奇,1781年去世时,他只有七岁。一年后,他的妹妹伊丽莎白死后,而第二个姐姐,玛丽亚,死于斑疹伤寒在1791年。可以说是最大的悲剧,他的童年是1787年去世的哥哥约翰创造者:在十三岁的时候,卡斯帕大卫见证了他的弟弟落空的冰冷冻湖和淹没。一些账户表明约翰christof丧生在试图营救卡斯帕大卫,他也可能在冰上。
1800年的粉笔画自画像,描绘了艺术家在26日完成时在哥本哈根举行的皇家艺术学院学习。皇家美术博物馆,哥本哈根[14]
弗里德里希·1790年开始正式学习的艺术作为一个私人的艺术家约翰·戈特弗莱德Quistorp学生格赖夫斯瓦尔德大学在他的家乡,艺术部门现在Caspar-David-Friedrich-Institut命名在他的荣誉。Quistorp带着他的学生在户外远足;因此,弗里德里希鼓励素描从早年的生活。通过Quistorp、弗里德里希·遇到了和随后的影响神学家路德维希圣哥达Kosegarten教,自然是上帝的启示。Quistorp弗里德里希介绍给德国17世纪艺术家的工作亚当Elsheimer,他的作品经常包括宗教占主导地位的主题景观,和夜间科目。在此期间他也研究文学美学与瑞典教授托马斯Thorild。四年后弗里德里希进入著名的哥本哈根学院,他开始了他的教育,使铸件的副本从古董雕塑从生活在继续之前。生活在哥本哈根提供年轻的画家访问皇家美术馆17世纪的荷兰风景画的集合。在学校他学习在教师等基督教Lorentzen 8月和风景画家Jens Juel。这些艺术家的启发狂飙运动运动和代表之间的中点戏剧性的强度和初露头角的浪漫的审美表达方式和减弱新古典主义理想。心情是最重要的,影响是来自冰岛的传奇等来源埃达的诗奥西恩和北欧神话.
弗里德里希永久定居在1798年的德累斯顿。在早期,他尝试版画与蚀刻和设计木刻版画他的家具制造商的兄弟。1804年,他产生了18蚀刻画和四个木刻版画;他们显然在少量,只分发给朋友。尽管有这些进军其他媒体,他被吸引到主要是与工作墨水,水彩画和乌贼。除了一些早期作品,如景观与寺庙废墟(1797),他没有广泛使用油直到他的名声更成熟。风景是他首选的主题,灵感来自频繁的旅行,从1801年开始,到波罗的海沿岸,波西米亚,Krkonoše和哈尔茨山.主要是基于德国北部的风景,他的画描绘森林,小山,港口,早晨的迷雾和其他基于近距离地观察大自然光效果。这些作品是仿照草图和景区的研究,如悬崖上吕根岛德累斯顿的环境和河流易北河。他执行他的研究几乎都是用铅笔,甚至提供地形信息,然而弗里德里希的微妙的大气效果特点的中期绘画是从记忆呈现的。这些影响从光的描述,他们的力量和照明的太阳和月亮在云层和水:波罗的海海岸特有的光学现象,以前从未被涂上了这样一个重点。
Tetschen坛或交叉在山(1807)。115×110.5厘米。Galerie Neue迈斯特德累斯顿。弗里德里希的第一次主要工作,代表受难的作品打破了传统的在圣坛雕刻描绘场景作为景观。
弗里德里希·建立他的声誉作为一个艺术家,他赢得了奖在1805年魏玛竞争组织的作家、诗人和剧作家歌德。当时,魏玛竞争倾向于把平庸的,现在被遗忘的艺术家展示衍生新古典主义和希腊风格的混合物。质量差的条目开始证明损害歌德的声誉,所以当弗里德里希进入两个乌贼drawings-Procession在黎明和海上渔民的诗人热烈回应,写道,“我们必须赞扬艺术家的智慧在这张照片相当。画好,队伍是巧妙的和适当的…他治疗结合大量的坚定、勤奋和整洁……巧妙的水彩……也是值得赞扬的。”
弗里德里希•完成他的第一个主要绘画1807年,34岁。十字架在山里,今天被称为Tetschen坛(Galerie Neue迈斯特德累斯顿),是一个祭坛的装饰品委员会委托的伯爵夫人为她的家庭教堂的图恩湖Tetschen,波西米亚。这将是为数不多的几个委员会收到的艺术家。坛面板描绘了一个Gipfelkreuz或镀金的十字架,在山顶概要,孤独,和德国和奥地利松树环绕。十字架到达最高点在图像平面上,但从一个斜和遥远的观点。自然主宰的场景和第一次基督教艺术,一个祭坛的装饰品展示了一个景观。根据艺术历史学家琳达·西格尔,装饰画的设计是“逻辑高潮的许多早期的图纸描绘一个十字架在大自然的世界。”
圣诞节的工作首次展出,1808年。虽然一般冷冷地收到了,但它仍然是弗里德里希的第一个绘画得到广泛宣传。艺术家的朋友公开辩护工作,而艺术评论家Basilius冯Ramdohr发表了一篇冗长的文章拒绝弗里德里希的景观在这样一个背景下,他写道,“一个副其实的推定,如果山水画溜进教堂和蠕变到坛”。Ramdohr从根本上挑战了概念,纯粹的风景画可以传达明确的意义。弗里德里希回应计划描述他的意图。在他1809年的评论这幅画,他比较了射线的太阳的光神圣的父亲.[30]太阳下沉的表明神对人直接透露自己的时代已经过去了。这个声明标志着唯一一次弗里德里希记录详细的解释自己的工作。
岩石在易北河砂岩山区风景画家卡斯帕大卫弗里德利希,1822年和1823年之间
弗里德里希当选的一员柏林学院1810年购买两个他的画作的普鲁士王储.然而在1816年,他试图保持距离普鲁士权威,而6月申请了撒克逊人公民身份。此举是意想不到的,他的朋友们,因为当时的撒克逊人政府法虽然弗里德里希的画作通常被视为爱国和反法。然而,借助他的Dresden-based朋友伯爵Vitzthum冯·Eckstadt弗里德里希不仅获得国籍,但在1818年,一个地方撒克逊学院的年度股息150成员泰勒.尽管他希望教授,但从未授予他,根据德国图书馆的信息,“这是觉得他的画太个人,他的观点也是个人作为一个卓有成效的例子给学生。”政治也可能扮演了一个角色在他职业生涯的停滞:弗里德里希明显的日耳曼经常选择的主题和服装与流行的亲法的态度发生了冲突。
白垩悬崖在吕根岛(1818)。90.5×71厘米。博物馆奥斯卡·莱因哈特Stadtgarten,温特图尔,瑞士。弗里德里希·克里斯蒂卡罗琳bom在1818年结婚,度蜜月,他们拜访了亲戚新勃兰登堡和格赖夫斯瓦尔德。这幅画庆祝这对夫妇的联盟。[35]
1818年1月21日,弗里德里希·卡洛琳bom结婚,25岁的女儿戴尔从德累斯顿。这对夫妇有三个孩子,与他们的第一,艾玛,到达1820。生理学家和画家卡尔·古斯塔夫词Carus在他的传记文章指出婚姻没有显著影响弗里德里希的生命或个性,然而他这时期的油画,包括白垩悬崖在吕根岛画在他honeymoon-display新轻浮的感觉,而他的调色板是光明和较不严格的。人物出现在这一时期的绘画,越来越频繁,西格尔解释反射,“人类生活的重要性,尤其是他的家人,现在越来越多的占据了他的思想,和他的朋友们,他的妻子和他的市民出现频繁的主题在他的艺术”。
在这个时候,在俄罗斯艺术家发现来自两个来源的支持。1820年,大公爵尼古拉Pavlovich在他妻子的要求下亚历山德拉Feodorovna,参观了弗里德里希的工作室,并在返回圣彼得堡与他的画作。赞助的交易标志着开始,持续了许多年。[38]此后不久,诗人瓦西里•茹导师,亚历山大二世会见了弗里德里希•1821年,发现他一个志趣相投的人。几十年来茹帮助弗里德里希都由推荐购买他的工作他自己和他的艺术皇室家族;他的援助弗里德里希的职业生涯的末尾是无价的境况不佳的和贫穷的艺术家。茹说,他朋友的绘画“请我们精确,他们每个人觉醒的记忆在我们脑海中。”
弗里德里希是熟悉菲利普·奥托龙格(1777 - 1810),另一家领先的德国浪漫主义时期的画家。他也是一个朋友Georg Friedrich Kersting(1785 - 1847),谁画的他在工作在他的工作室,和挪威画家约翰基督教的克劳森达尔(1788 - 1857)。达尔接近弗里德里希在艺术家的最后几年,他表示失望,那帮,弗里德里希的图片仅仅是“好奇心”。而诗人赞赏弗里德里希心理主题的茹达尔赞扬了描述性的弗里德里希的景观质量,评论,“艺术家和收藏家看到弗里德里希的艺术只有一种神秘的,因为他们只是寻找神秘……他们没有看到弗里德里希的忠诚和认真研究大自然中的一切,他代表”。
在此期间弗里德里希经常画纪念纪念碑和雕塑陵墓,反映出他对死亡和来世;他甚至创造设计的葬礼的艺术在德累斯顿的墓地。其中的一些作品被迷失在大火摧毁慕尼黑的玻璃宫殿(1931年),后来在1945年轰炸德累斯顿.
Georg Friedrich Kersting,卡斯帕大卫弗里德利希在他的工作室(1819)Alte Nationalgalerie、柏林。Kersting描绘了弗里德里希•岁举行支腕杖在他的画布上。
卡斯帕大卫弗里德利希的坟墓,Trinitatis-Friedhof,德累斯顿
弗里德里希的声誉在他生命的最后15年稳步下降。早期浪漫主义的理想从时尚,他被视为一个古怪,忧郁的性格,与时代的联系。渐渐地他的顾客。到1820年,他作为一个隐士生活,被朋友称为“最孤独的孤独的”。[33]对他生命的最后他住在相对贫困和日益依赖于慈善的朋友。他成为孤立和日夜上长时间独自穿过树林和田野,通常在日出前开始散步。
1835年6月,弗里德里希遭遇了他的第一次中风,离开了他轻微肢体瘫痪和大大减少他的绘画能力。因此,他无法工作在石油;相反,他有限的水彩画,深褐色并改造旧的组成部分。
尽管他的愿景仍保持强劲,但他已经失去了满手的力量。然而他能产生一个最终的“黑画”,在月光下海滨(1835 - 36),描述了沃恩的“黑暗的他所有的海岸线,丰富的色调补偿前技巧的缺乏”。
死亡的象征出现在他的其他工作。他中风后不久,俄罗斯皇室购买了许多他的早期作品,所得允许他前往Teplitz——今天的捷克共和国恢复。
在1830年代中期,弗里德里希开始一系列的画像和他回到大自然中观察自己。随着艺术历史学家威廉·沃恩已经观察到,然而,“他可以看到自己是一个极大地改变了人。他不再是正直的人,支持数字出现在两人考虑月球在1819年。他是又老又硬……他弯腰动作”。
到1838年,他只能够工作在一个小的格式。他和他的家人生活在贫困和支持越来越依赖朋友的慈善机构。
弗里德里希•:墓地入口Galerie Neue迈斯特德累斯顿,
弗里德里希在德累斯顿1840年5月7日去世,葬在德累斯顿Trinitatis-Friedhof市中心以东(三一公墓)的入口(他画一些15年前)。简单的平面内中央小圆盘的墓碑是西北主要的大道。
他去世的时候,他的声誉和名望都减弱,他的传球几乎没有注意到在艺术社区。他的作品当然是承认在他有生之年,但并不普遍。而景观的仔细研究,强调自然的精神元素在当代艺术,他的工作太原始,个人理解。到1838年,他的作品不再出售或收到批评家的关注;浪漫主义运动已经远离早期的理想主义艺术家帮助发现。
他死后,卡尔·古斯塔夫词Carus写了一系列文章,赞扬弗里德里希风景画的转换的约定。然而,词Carus的文章放在弗里德里希坚定地在他的时间,并没有把艺术家在一个持续的传统。只有一个他的画作被复制印刷,这是产生很少的副本。
Caspar David Friedrich was born on 5 September 1774, in Greifswald, Swedish Pomerania, on the Baltic coast of Germany.The sixth of ten children, he was brought up in the strict Lutheran creed of his father Adolf Gottlieb Friedrich, a candle-makerand soap boiler. Records of the family's financial circumstances are contradictory; while some sources indicate the children were privately tutored, others record that they were raised in relative poverty. Caspar David was familiar with death from an early age. His mother, Sophie Dorothea Bechly, died in 1781 when he was just seven. A year later, his sister Elisabeth died,while a second sister, Maria, succumbed to typhus in 1791. Arguably the greatest tragedy of his childhood was the 1787 death of his brother Johann Christoffer: at the age of thirteen, Caspar David witnessed his younger brother fall through the ice of a frozen lake and drown. Some accounts suggest that Johann Christoffer perished while trying to rescue Caspar David, who was also in danger on the ice.
Friedrich began his formal study of art in 1790 as a private student of artist Johann Gottfried Quistorp at the University of Greifswald in his home city, at which the art department is now named Caspar-David-Friedrich-Institut in his honour. Quistorp took his students on outdoor drawing excursions; as a result, Friedrich was encouraged to sketch from life at an early age. Through Quistorp, Friedrich met and was subsequently influenced by the theologian Ludwig Gotthard Kosegarten, who taught that nature was a revelation of God. Quistorp introduced Friedrich to the work of the German 17th-century artist Adam Elsheimer, whose works often included religious subjects dominated by landscape, and nocturnal subjects. During this period he also studied literature and aesthetics with Swedish professor Thomas Thorild. Four years later Friedrich entered the prestigious Academy of Copenhagen, where he began his education by making copies of casts from antique sculptures before proceeding to drawing from life.Living in Copenhagen afforded the young painter access to the Royal Picture Gallery's collection of 17th-century Dutch landscape painting. At the Academy he studied under teachers such as Christian August Lorentzen and the landscape painter Jens Juel. These artists were inspired by the Sturm und Drang movement and represented a midpoint between the dramatic intensity and expressive manner of the budding Romantic aesthetic and the waning neo-classical ideal. Mood was paramount, and influence was drawn from such sources as the Icelandic legend of Edda, the poems of Ossian and Norse mythology.
Friedrich settled permanently in Dresden in 1798. During this early period, he experimented in printmaking with etchings and designs for woodcuts which his furniture-maker brother cut. By 1804 he had produced 18 etchings and four woodcuts; they were apparently made in small numbers and only distributed to friends. Despite these forays into other media, he gravitated toward working primarily with ink, watercolour and sepias. With the exception of a few early pieces, such asLandscape with Temple in Ruins (1797), he did not work extensively with oils until his reputation was more established.Landscapes were his preferred subject, inspired by frequent trips, beginning in 1801, to the Baltic coast, Bohemia, theKrkonoše and the Harz Mountains. Mostly based on the landscapes of northern Germany, his paintings depict woods, hills, harbors, morning mists and other light effects based on a close observation of nature. These works were modeled on sketches and studies of scenic spots, such as the cliffs on Rügen, the surroundings of Dresden and the river Elbe. He executed his studies almost exclusively in pencil, even providing topographical information, yet the subtle atmospheric effects characteristic of Friedrich's mid-period paintings were rendered from memory.These effects took their strength from the depiction of light, and of the illumination of sun and moon on clouds and water: optical phenomena peculiar to the Baltic coast that had never before been painted with such an emphasis.
Friedrich established his reputation as an artist when he won a prize in 1805 at theWeimar competition organised by the writer, poet, and dramatist Johann Wolfgang von Goethe. At the time, the Weimar competition tended to draw mediocre and now long-forgotten artists presenting derivative mixtures of neo-classical and pseudo-Greek styles. The poor quality of the entries began to prove damaging to Goethe's reputation, so when Friedrich entered two sepia drawings—Procession at Dawn and Fisher-Folk by the Sea—the poet responded enthusiastically and wrote, "We must praise the artist's resourcefulness in this picture fairly. The drawing is well done, the procession is ingenious and appropriate... his treatment combines a great deal of firmness, diligence and neatness... the ingenious watercolour... is also worthy of praise."
Friedrich completed the first of his major paintings in 1807, at the age of 34. The Cross in the Mountains, today known as the Tetschen Altar (Galerie Neue Meister, Dresden), is an altarpiece panel commissioned by the Countess of Thun for her family's chapel inTetschen, Bohemia. It was to be one of the few commissions the artist received.The altar panel depicts a Gipfelkreuz, or a gilded cross, in profile at the top of a mountain, alone, and surrounded by German and Austrian pine trees. The cross reaches the highest point in the pictorial plane but is presented from an oblique and a distant viewpoint. Nature dominates the scene and for the first time in Christian art, an altarpiece showcases a landscape. According to the art historian Linda Siegel, the design of the altarpiece is the "logical climax of many earlier drawings of his which depicted a cross in nature's world."
The work was first exhibited on Christmas Day, 1808. Although it was generally coldly received, it was nevertheless Friedrich's first painting to receive wide publicity. The artist's friends publicly defended the work, while art criticBasilius von Ramdohr published a lengthy article rejecting Friedrich's use of landscape in such a context; he wrote that it would be "a veritable presumption, if landscape painting were to sneak into the church and creep onto the altar". Ramdohr fundamentally challenged the concept that pure landscape painting could convey explicit meaning. Friedrich responded with a programme describing his intentions. In his 1809 commentary on the painting, he compared the rays of the evening sun to the light of the Holy Father. The sinking of the sun suggests that the era when God revealed himself directly to man has passed. This statement marked the only time Friedrich recorded a detailed interpretation of his own work.
Friedrich was elected a member of the Berlin Academy in 1810 following the purchase of two of his paintings by the Prussian Crown Prince. Yet in 1816, he sought to distance himself from Prussian authority, and that June applied for Saxon citizenship. The move was unexpected by his friends, as the Saxon government of the time was pro-French, while Friedrich's paintings to date were seen as generally patriotic and distinctly anti-French. Nevertheless, with the aid of his Dresden-based friend Graf Vitzthum von Eckstädt, Friedrich attained not only citizenship, but in 1818, a place in the Saxon Academy as a member with a yearly dividend of 150 thalers. Although he hoped to receive a full Professorship, it was never awarded him as, according to the German Library of Information, "it was felt that his painting was too personal, his point of view too individual to serve as a fruitful example to students." Politics too may have played a role in the stalling of his career: Friedrich's decidedly Germanic choice of subject and costuming frequently clashed with the prevailing pro-French attitudes of the time.
On 21 January 1818, Friedrich married Caroline Bommer, the twenty-five-year-old daughter of a dyerfrom Dresden The couple had three children, with their first, Emma, arriving in 1820. Physiologist and painter Carl Gustav Carus notes in his biographical essays that marriage did not impact significantly on either Friedrich's life or personality, yet his canvasses from this period, including Chalk Cliffs on Rügen—painted after his honeymoon—display a new sense of levity, while his palette is brighter and less austere.Human figures appear with increasing frequency in the paintings of this period, which Siegel interprets as a reflection that "the importance of human life, particularly his family, now occupies his thoughts more and more, and his friends, his wife, and his townspeople appear as frequent subjects in his art."
Around this time, the artist found support from two sources in Russia. In 1820, Grand Duke Nikolai Pavlovich, at the behest of his wife Alexandra Feodorovna, visited Friedrich's studio and returned to Saint Petersburg with a number of his paintings. The exchange marked the beginning of a patronage that continued for many years. Not long thereafter, the poet Vasily Zhukovsky, tutor to Alexander II, met Friedrich in 1821 and found in him a kindred spirit. For decades Zhukovsky helped Friedrich both by purchasing his work himself and by recommending his art to the royal family; his assistance toward the end of Friedrich's career proved invaluable to the ailing and impoverished artist. Zhukovsky remarked that his friend's paintings "please us by their precision, each of them awakening a memory in our mind."
Friedrich was acquainted with Philipp Otto Runge (1777–1810), another leading German painter of the Romantic period. He was also a friend of Georg Friedrich Kersting (1785–1847), who painted him at work in his unadorned studio, and of the Norwegian painter Johan Christian Clausen Dahl (1788–1857). Dahl was close to Friedrich during the artist's final years, and he expressed dismay that to the art-buying public, Friedrich's pictures were only "curiosities".While the poet Zhukovsky appreciated Friedrich's psychological themes, Dahl praised the descriptive quality of Friedrich's landscapes, commenting that "artists and connoisseurs saw in Friedrich's art only a kind of mystic, because they themselves were only looking out for the mystic... They did not see Friedrich's faithful and conscientious study of nature in everything he represented".
During this period Friedrich frequently sketched memorial monuments and sculptures for mausoleums, reflecting his obsession with death and the afterlife; he even created designs for some of the funerary art in Dresden's cemeteries. Some of these works were lost in the fire that destroyed Munich's Glass Palace (1931) and later in the 1945 bombing of Dresden.
Friedrich's reputation steadily declined over the final fifteen years of his life. As the ideals of early Romanticism passed from fashion, he came to be viewed as an eccentric and melancholy character, out of touch with the times. Gradually his patrons fell away. By 1820, he was living as a recluse and was described by friends as the "most solitary of the solitary". Towards the end of his life he lived in relative poverty and was increasingly dependent on the charity of friends. He became isolated and spent long periods of the day and night walking alone through woods and fields, often beginning his strolls before sunrise.
In June 1835, Friedrich suffered his first stroke, which left him with minor limb paralysis and greatly reduced his ability to paint.As a result, he was unable to work in oil; instead he was limited to watercolour, sepia and reworking older compositions.
Although his vision remained strong, he had lost the full strength of his hand. Yet he was able to produce a final 'black painting', Seashore by Moonlight (1835–36), described by Vaughan as the "darkest of all his shorelines, in which richness of tonality compensates for the lack of his former finesse".
Symbols of death appeared in his other work from this period. Soon after his stroke, theRussian royal family purchased a number of his earlier works, and the proceeds allowed him to travel to Teplitz—in today's Czech Republic—to recover.
During the mid-1830s, Friedrich began a series of portraits and he returned to observing himself in nature. As the art historian William Vaughan has observed, however, "He can see himself as a man greatly changed. He is no longer the upright, supportive figure that appeared in Two Men Contemplating the Moon in 1819. He is old and stiff... he moves with a stoop".
By 1838, he was capable only of working in a small format. He and his family were living in poverty and grew increasingly dependent for support on the charity of friends.
Friedrich died in Dresden on 7 May 1840, and was buried in Dresden's Trinitatis-Friedhof (Trinity Cemetery) east of the city centre (the entrance to which he had painted some 15 years earlier). The simple flat gravestone lies north-west of the central roundel within the main avenue.
By the time of his death, his reputation and fame were waning, and his passing was little noticed within the artistic community. His artwork had certainly been acknowledged during his lifetime, but not widely. While the close study of landscape and an emphasis on the spiritual elements of nature were commonplace in contemporary art, his work was too original and personal to be well understood. By 1838, his work no longer sold or received attention from critics; the Romantic movement had been moving away from the early idealism that the artist had helped found.
After his death, Carl Gustav Carus wrote a series of articles which paid tribute to Friedrich's transformation of the conventions of landscape painting. However, Carus' articles placed Friedrich firmly in his time, and did not place the artist within a continuing tradition.Only one of his paintings had been reproduced as a print, and that was produced in very few copies.
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