- Hardcover: 256 pages
- Publisher: Yale University Press (Nov 28 1990)
- Language: English
- ISBN-10: 0300049269
- ISBN-13: 978-0300049268
- Product Dimensions: 29.2 x 22.2 x 2.5 cm
- Shipping Weight: 1.3 Kg
- Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)
- See Complete Table of Contents
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Product Details |
Product Description
Review
"Provides insights not only into the nature of Friedrich’s art, but also into the whole predicament of art in the early nineteenth century . . . It is a book that should be read by all who have an interest in the art of the period."--The Burlington Magazine
Product Description
Caspar David Friedrich (1774–1840) is heralded as the greatest painter of the Romantic movement in Germany, and Europe’s first truly modern artist. His mysterious and melancholy landscapes, often peopled with lonely wanderers, are experiments in a radically subjective artistic perspective—one in which, as Freidrich wrote, the painter depicts not “what he sees before him, but what he sees within him.” This vulnerability of the individual when confronted with nature became one of the key tenets of the Romantic aesthetic.
Now available in a compact, accessible format, this beautifully illustrated book is the most comprehensive account ever published in English of one of the most fascinating and influential nineteenth-century painters.
“This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject.”—Independent
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Most helpful customer reviews
5.0 out of 5 stars
A Portrait of the Invisible,
This review is from: Caspar David Friedrich and the Subject of Landscape (Paperback)
Koerner has written a philosophical masterpiece in the form of an art book. Caspar David Friedrich is one of the most complex and thought-provoking of nineteenth-century artists, whose whose exploration of perception shows up in his most mundane paintings as well as his most grandiose.Koerner shows us how even a painting of something as simple as a bushy thicket in the snow contains many subtle contradictions and complexities that baffle the eye as we examine it more closely. The apparent simplicity and underlying intensity of many of his works is similar to that of Edward Hopper, on whom he seems to have been a major influence (and this book bears comparison with Kranzfelder's "Hopper"). Friedrich specialized in painting the human figure seen from behind (rueckenfigur), and this ties in with sense of nostalgia that is a major component of his art. A really notable example of this is "Abbey Graveyard under Snow", a painting of a ruined mediaeval monastery with a spectral procession of monks from a bygone age; this painting was destroyed by bombing in 1945 and exists only in reproduction - a ghostly painting of ghosts. Koerner's dense prose is heavy going, but well worth the effort because it contains so much; the author evidently has a thorough grounding in philosophy as well as a great sympathy for his subject. The last chapter is entitled "deja vu", and this sums up one of the main feelings aroused by this art. The last sentence is worth quoting: "And it arrests you on the Dresden heath, before the thicket in winter, when what you thought were just alders in the snow are fragments of your darkest history".
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4.5 out of 5 stars (2 customer reviews) 40 of 40 people found the following review helpful
5.0 out of 5 stars
A Portrait of the Invisible,
By "moe_d_anglais" - Published on Amazon.com
This review is from: Caspar David Friedrich and the Subject of Landscape (Paperback)
Koerner has written a philosophical masterpiece in the form of an art book. Caspar David Friedrich is one of the most complex and thought-provoking of nineteenth-century artists, whose whose exploration of perception shows up in his most mundane paintings as well as his most grandiose.Koerner shows us how even a painting of something as simple as a bushy thicket in the snow contains many subtle contradictions and complexities that baffle the eye as we examine it more closely. The apparent simplicity and underlying intensity of many of his works is similar to that of Edward Hopper, on whom he seems to have been a major influence (and this book bears comparison with Kranzfelder's "Hopper"). Friedrich specialized in painting the human figure seen from behind (rueckenfigur), and this ties in with sense of nostalgia that is a major component of his art. A really notable example of this is "Abbey Graveyard under Snow", a painting of a ruined mediaeval monastery with a spectral procession of monks from a bygone age; this painting was destroyed by bombing in 1945 and exists only in reproduction - a ghostly painting of ghosts. Koerner's dense prose is heavy going, but well worth the effort because it contains so much; the author evidently has a thorough grounding in philosophy as well as a great sympathy for his subject. The last chapter is entitled "deja vu", and this sums up one of the main feelings aroused by this art. The last sentence is worth quoting: "And it arrests you on the Dresden heath, before the thicket in winter, when what you thought were just alders in the snow are fragments of your darkest history". 3 of 7 people found the following review helpful
4.0 out of 5 stars
Best book so far,
By Brad Teare - Published on Amazon.com
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This review is from: Caspar David Friedrich and the Subject of Landscape (Paperback)
The best reproduction in this book is on the cover, Large Enclosure, one of Friedrich's finest paintings. The interior illustrations tend to be small on the page. There are 64 color illustrations most of which are quite small at 6.25" x 4.5" on an 11" x 8.5" page. The text is readable and gives quite a lot of background information. There are black and white reproductions sprinkled throughout which convey an idea of Friedrich's compositions and use of values.I am still looking for the definitive book of Friedrich's paintings so until then this book will have to do. |
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