Peintures, dessins, photos anciennes de montagnes, volcans, pics, glaciers, collines, falaises et reliefs de tous ordres...
Sunday, October 15, 2017
THE ROSENBERG / RUZAK PAINTED BY CASPAR DAVID FRIEDRICH
Monday, June 11, 2018
SZERNICA PAINTED BY CASPAR DAVID FREIDRICH
The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".
Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip B. Miller, "half mad". As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterized its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Friedrich was a prolific artist who produced more than 500 attributed works. In line with the Romantic ideals of his time, he intended his paintings to function as pure aesthetic statements, so he was cautious that the titles given to his work were not overly descriptive or evocative. It is likely that some of today's more literal titles, such as The Stages of Life, were not given by the artist himself, but were instead adopted during one of the revivals of interest in Friedrich. Complications arise when dating Friedrich's work, in part because he often did not directly name or date his canvases. He kept a carefully detailed notebook on his output, however, which has been used by scholars to tie paintings to their completion dates.
_______________________________
2018 - Wandering Vertexes...
by Francis Rousseau
Friday, September 28, 2018
SCHNEEKOPPE (3) PAINTED BY CASPAR DAVID FRIEDRICH
The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".
Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip B. Miller, "half mad". As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterized its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Friedrich was a prolific artist who produced more than 500 attributed works. In line with the Romantic ideals of his time, he intended his paintings to function as pure aesthetic statements, so he was cautious that the titles given to his work were not overly descriptive or evocative. It is likely that some of today's more literal titles, such as The Stages of Life, were not given by the artist himself, but were instead adopted during one of the revivals of interest in Friedrich. Complications arise when dating Friedrich's work, in part because he often did not directly name or date his canvases. He kept a carefully detailed notebook on his output, however, which has been used by scholars to tie paintings to their completion dates.
2018 - Wandering Vertexes...
Un blog de Francis Rousseau
Sunday, November 13, 2016
THE WATZMANN PAINTED BY CASPAR DAVID FRIEDRICH
Tuesday, September 22, 2020
RIESENGEBIRGE AND SZRENICA (3) PAINTED BY CASPAR DAVID FRIEDRICH
Riesengebirge (1,362 m - 4,469 ft)
Poland - Czech Republic border
In New Moon above the Riesengebirge Mountains, 1810, pen and gray ink with watercolor over graphite on wove paper overall, 26.2 x 36.5 cm, Pushkin State Museum of Fine Arts, Moscow
The mountain
Szrenica (1,362 m - 4,469 ft) is a mountain peak situated in the western part of Karkonosze on Polish and Czech border within the Karkonosze National Park. Its name originates from the Polish word szron (frost). There is a weather station situated close to the summit. The peak is deforested, both the southern and the northern parts are used intensively for skiing. The elevation gain compared to the main range is approximately 60 m. Szrenica Is part of the Giant Mountains range (Riesengebirge in german) frequently painted by the most famous romantic german painter Caspar David Friedrich.
The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".
Friedrich was a prolific artist who produced more than 500 attributed works. In line with the Romantic ideals of his time, he intended his paintings to function as pure aesthetic statements, so he was cautious that the titles given to his work were not overly descriptive or evocative. It is likely that some of today's more literal titles, such as The Stages of Life, were not given by the artist himself, but were instead adopted during one of the revivals of interest in Friedrich. Complications arise when dating Friedrich's work, in part because he often did not directly name or date his canvases. He kept a carefully detailed notebook on his output, however, which has been used by scholars to tie paintings to their completion dates.
_______________________________
2020 - Wandering Vertexes...
by Francis Rousseau
Saturday, December 31, 2016
SCHNEEKOPPE (1) PAINTED BY CASPAR DAVID FRIEDRICH
In The Risengbirge, 1810, oil on canvas, Private collection
The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization".
Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers (1788–1856) spoke of him as a man who had discovered "the tragedy of landscape". Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip B. Miller, "half mad". As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterized its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, interpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance.
Friedrich was a prolific artist who produced more than 500 attributed works. In line with the Romantic ideals of his time, he intended his paintings to function as pure aesthetic statements, so he was cautious that the titles given to his work were not overly descriptive or evocative. It is likely that some of today's more literal titles, such as The Stages of Life, were not given by the artist himself, but were instead adopted during one of the revivals of interest in Friedrich. Complications arise when dating Friedrich's work, in part because he often did not directly name or date his canvases. He kept a carefully detailed notebook on his output, however, which has been used by scholars to tie paintings to their completion dates.
Monday, August 18, 2025
LE PETIT CASQUE / MALY SZYSZAK PEINT PAR CASPAR DAVID FRIEDRICH
Mały Szyszak /Le Petit casque (1,439 m)
Pologne, République Tchèque
La montagne
Le peintre
Caspar David Friedrich, est
un peintre et dessinateur allemand, considéré comme l'artiste le plus
important et influent de la peinture romantique allemande du 19e siècle,
est particulièrement connu pour deux de ses tableaux: Le Voyageur contemplant une mer de nuages (1818) et La Mer de glace (1823-1824).
En 1834, lors de la visite de l'atelier de Friedrich, le sculpteur
David d'Angers a un mot célèbre pour définir l'art de Friedrich : « Cet homme a découvert la tragédie du paysage. »
D'après
les propres écrits de Friedrich, tous les éléments de la composition
ont une signification symbolique. Les montagnes sont des allégories de
la foi ; les rayons du soleil couchant symbolisent la fin du monde
préchrétien et les sapins représentent l'espoir. Les tonalités souvent
froides, l'exposition claire et les contours contrastés des tableaux de
Friedrich mettent en relief l'aspect mélancolique, les sentiments de
solitude et d'impuissance de l'homme face aux forces de la nature, que
le peintre a voulu exprimer tout au long de son œuvre. En 1820,
Friedrich reçoit le grand-duc Nicolas (1779-1845), futur empereur de
Russie, dans son atelier à Dresde. Celui-ci lui achète quelques tableaux
mélancoliques pour sa résidence d'été à Peterhof, et lui commande un
tableau devant représenter un paysage nordique dans son « effroyable
beauté ». Ce tableau, Le Naufrage de l'Espoir (1820), aujourd'hui disparu, a longtemps été confondu avec un tableau de 1823/24, La Mer de glace.
Ce tableau qui dépeint le naufrage d'un bateau écrasé par des blocs de
glace renoue avec le thème de la mort et de la Nature toute-puissante.
________________________________________
2025 - Gravir les montagnes en peinture
Un blog de Francis Rousseau
Saturday, March 9, 2024
LA SNIEJKA (LA NEIGEUSE) PEINTE PAR CASPAR DAVID FRIEDRICH
La Sniejka (1603m)
Pologne-Tchéquie
In Paysage du Riesengebirge avec brumes, 1820, Musée de l'Ermitage, Saint-Pétersbourg.
La montagne
La Sniejka (1603m), « la neigeuse », en tchèque) est la plus haute montagne des monts des Géants (Riesengebirge). Elle est traversée en son sommet par la frontière entre la Pologne et la Tchéquie. On peut y accéder par un télésiège depuis la ville tchèque de Pec pod Sněžkou. Son point culminant est aussi celui de la Tchéquie. Le sommet a une superficie plane importante, de plus de 120 000 mètres carrés ce qui a permis d'y construire plusieurs bâtiments. La Sniejka est le point de départ ou le but de nombreux chemin de randonnée pédestre, dont le chemin de l'Amitié tchéco-polonaise, cyclistes et de ski de fond.Le bâtiment le plus ancien est la chapelle Saint-Laurent, haute de 14 mètres et située du côté polonais. Les travaux de construction ont commencé en 1653 mais durent être interrompus à cause d'un litige territorial entre le comte de Schaffgotsch et le comte Czernin, ce dernier revendiquant la propriété du sommet de la montagne. Finalement, la chapelle fut construite entre 1665 et 1681. Depuis quelques années, une messe rassemblant hommes d'église tchèques et polonais y est célébrée le 10 août à l'intention des victimes d'accidents de montagne ainsi que des secouristes. La Sniejka se situe au niveau du jet stream ce qui lui donne son climat perturbé avec des rafales de vent pouvant être très violentes (345,6 km/h le 9 mars 1990). Le climat est polaire alpin proche d'un climat subpolaire (les moyennes de juillet et d'août sont proches des 10 °C).
Le peintre
Caspar David Friedrich, est un peintre et dessinateur allemand, considéré comme l'artiste le plus important et influent de la peinture romantique allemande du 19e siècle, est particulièrement connu pour deux de ses tableaux: Le Voyageur contemplant une mer de nuages (1818) et La Mer de glace (1823-1824). En 1834, lors de la visite de l'atelier de Friedrich, le sculpteur David d'Angers a un mot célèbre pour définir l'art de Friedrich : « Cet homme a découvert la tragédie du paysage. »
D'après les propres écrits de Friedrich, tous les éléments de la composition ont une signification symbolique. Les montagnes sont des allégories de la foi ; les rayons du soleil couchant symbolisent la fin du monde préchrétien et les sapins représentent l'espoir. Les tonalités souvent froides, l'exposition claire et les contours contrastés des tableaux de Friedrich mettent en relief l'aspect mélancolique, les sentiments de solitude et d'impuissance de l'homme face aux forces de la nature, que le peintre a voulu exprimer tout au long de son œuvre. En 1820, Friedrich reçoit le grand-duc Nicolas (1779-1845), futur empereur de Russie, dans son atelier à Dresde. Celui-ci lui achète quelques tableaux mélancoliques pour sa résidence d'été à Peterhof, et lui commande un tableau devant représenter un paysage nordique dans son « effroyable beauté ». Ce tableau, Le Naufrage de l'Espoir (1820), aujourd'hui disparu, a longtemps été confondu avec un tableau de 1823/24, La Mer de glace. Ce tableau qui dépeint le naufrage d'un bateau écrasé par des blocs de glace renoue avec le thème de la mort et de la Nature toute-puissante.
________________________________________
2011-2024 - Gravir les montagnes en peinture
Un blog de Francis Rousseau
Thursday, January 6, 2022
MILESOVKA PAINTED BY CASPAR DAVID FRIEDRICH
CASPAR DAVID FRIEDRICH (1774-1840)
Milešovka (837m - 2, 746ft)
Czech Republic
In Mountain Landscape with Rainbow ca.1809-1810, Museum Folkwang, Essen, Germany
The mountain
Milešovka (837m - 2, 746 ft), an isolated phonolite cone, is the highest mountain of České Středohoří (Czech Central Mountains Range), a picturesque mountain range in northwest Bohemia, in Czech Republic. Situated right in the middle of the European Continent, it has a volcanic origin. The range covers an area of more than 1000 km2 with many hills typically volcano shaped. Their unique appearance were attracting numbers of naturalists, painters, poets and nature-lovers.
Mount Milešovka is located over the village of Milesov about 10km northwestward of Lovosice. The peak is ranked among the most windy mountains in Czech Republic. The very first chalet had been built up in 1825, other buildings soon followed as well as the outlook tower in 1850. The famous traveler Alexander von Humboldt is responsible for their construction, he labeled the view from Milesovka as "the third most beautiful in the world", making it really worth visiting. From there, one can see the scenery view of Ceske Stredohori, the Polabska nizina lowlands and the ridge of the Krusne hory mountains. Milesovka adjoins with a peak called Paskapole which is crossed by the road connecting Prague with Teplice.
The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization"....
- More informations about Caspar David Friedrich life and work
_____________________________________
2022 - Wandering Vertexes...
Un blog de Francis Rousseau
Sunday, June 12, 2022
THE BASTEI CLIFF PAINTED BY CASPAR DAVID FRIEDRICH
CASPAR DAVID FRIEDRICH (1774-1840)
The Bastei Cliff (194 m - 636 ft)
Germany / Czech Republic border
In "Felsenschlucht", oil on canvas , 1822
The rock
The Bastei (194 m - 636 ft) is a rock formation rising 194 metres above the Elbe River in the Elbe Sandstone Mountains (723 m - 2,372 ft) of Germany. Reaching a height of 305 metres above sea level, the jagged rocks of the Bastei were formed by water erosion over one million years ago. They are situated near Rathen, not far from Pirna southeast of the city of Dresden, and are the major landmark of the Saxon Switzerland National Park. They are also part of a climbing and hiking area that extends over the borders into the Bohemian Switzerland (Czech Republic). The Bastei has been a tourist attraction for over 200 years. In 1824, a wooden bridge was constructed to link several rocks for the visitors. This bridge was replaced in 1851 by the present Bastei Bridge made of sandstone. The rock formations and vistas have inspired numerous artists, among them Caspar David Friedrich in "Felsenschlucht" (above)
The spa town of Rathen is the main base for visiting the Bastei; the town can be reached from Dresden by paddle steamer on the river Elbe.
The Bastei is one of the most prominent lookout points in Saxon Switzerland. In 1819 August von Goethe extolled the views: "Here, from where you see right down to the Elbe from the most rugged rocks, where a short distance away the crags of the Lilienstein, Königstein and Pffafenstein stand scenically together and the eye takes in a sweeping view that can never be described in words." Today the Bastei still has the highest number of visitors of all the lookout points in Saxon Switzerland. In addition to the actual vista, there are also other points of interest. At the Jahrhundertturm, a rock pinnacle on the Bastei Bridge, there are tablets commemorating the first mention of the Bastei in travel literature (in 1797) as well as the memory of Wilhelm Lebrecht Götzinger and Carl Heinrich Nicolai. These last two were amongst the pioneers of tourism in Saxon Switzerland, thanks to their descriptions of their journeys and their other works. Another tablet commemorates the Saxon court photographer, Hermann Krone, who took the first landscape photographs in Germany at the Bastei Bridge in 1853. From the Ferdinandstein, part of the Wehltürme rock towers, there is a famous view of the Bastei Bridge. It is reached over a branch from the route to the bridge. Another well-known rock formation in the vicinity of the Bastei is the Wartturm, a large piece of which broke off in 2000. Neurathen Castle, the largest rock castle in Saxon Switzerland, may be reached from the Bastei by crossing the Bastei Bridge. The ruins of the castle, some timber rebates, rooms carved out of the rock, a cistern and stone shot from a medieval catapult or slingshot may be viewed on a self-conducted circular walk. A replica slingshot was put on display in the castle in 1986. The finds from excavations in the area, especially pottery, can also be seen. The climb from Rathen to the Bastei runs past an open-air museum dedicated to Slavic settlement in the region and also past the path leading to the Rathen Open Air Stage. Another famous landmark in the local area is the fortress of Königstein.
The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization"....
_____________________________________
2022 - Wandering Vertexes...
Un blog de Francis Rousseau
Thursday, April 27, 2017
MILESOVKA PAINTED BY CASPAR DAVID FRIEDRICH
The mountain
Milešovka (837m - 2, 746 ft), an isolated phonolite cone, is the highest mountain of České Středohoří (Czech Central Mountains Range), a picturesque mountain range in northwest Bohemia, in Czech Republic. Situated right in the middle of the European Continent, it has a volcanic origin. The range covers an area of more than 1000 km2 with many hills typically volcano shaped. Their unique appearance were attracting numbers of naturalists, painters, poets and nature-lovers.
Mount Milešovka is located over the village of Milesov about 10km northwestward of Lovosice. The peak is ranked among the most windy mountains in Czech Republic. The very first chalet had been built up in 1825, other buildings soon followed as well as the outlook tower in 1850. The famous traveler Alexander von Humboldt is responsible for their construction, he labeled the view from Milesovka as "the third most beautiful in the world", making it really worth visiting. From there, one can see the scenery view of Ceske Stredohori, the Polabska nizina lowlands and the ridge of the Krusne hory mountains. Milesovka adjoins with a peak called Paskapole which is crossed by the road connecting Prague with Teplice.
Source:
- Czech Republic Geographic Institute
The painter
Caspar David Friedrich was a 19th-century German Romantic landscape painter, considered as the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
Friedrich was born in Pomerania, where he began to study art. He studied in Copenhagen until 1798, before settling in Dresden. A disillusionment with materialistic society was giving rise everywhere in Europe. This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as J. M. W. Turner (1775–1851) and John Constable (1776–1837) sought to depict nature as a "divine creation, to be set against the artifice of human civilization"....
- More informations about Caspar David Friedrich life and work
Wednesday, January 17, 2018
HOHE ACHT BY CARL FRIEDRICH LESSING
The mountain
The Hohe Acht (747m - 2, 450ft) is the highest mountain in the Eifel mountains of Germany. It is located on the boundary between the districts of Ahrweiler and Mayen-Koblenz in Rhineland-Palatinate. The Hohe Acht is located in the High Eifel east of Adenau. The mountain is a tertiary volcano, whose cone is composed of Lower Devonian rock and whose summit is made of basalt.
Emperor William Tower.
In 1908/09 the Emperor William Tower (Kaiser-Wilhelm-Turm) was erected on the Hohe Acht. The reason for the construction of this stone observation tower, based on plans by the architect, Freiherr von Tettau, Berlin, was the silver wedding of Emperor William II and Empress Augusta Victoria as well as the commemoration of Emperor William I.
The tower is 16.30 metres (53.5 ft) high and its walls are one metre thick at ground level. The work was carried out by master masons, Karl and Johannes Leidinger, from Adenau using local stone. The cost of construction was 18,000 marks. The tower has been a protected monument since 1987.
The Emperor William Tower offers a superb view across the whole Eifel (including the mountains of Scharteberg, Dцhmberg, Michelsberg, Hochthьrmerberg, Schцneberg, the nearby Nьrburg Castle and Hochkelberg), as well as the Siebengebirge and its GroЯer Цlberg and, in conditions of good visibility, as far as the Westerwald, the Taunus, the Hunsrьck and the Lower Rhine.
There is a network of footpaths around the Hohe Acht and, at many places there are good views over the Eifel landscape. In winter the Hohe Acht has some very good winter sport facilities including prepared cross country skiing trails, toboggan runs and ski lifts.
The artist
Carl (or Karl) Friedrich Lessing was a German historical and landscape painter, grandnephew of Gotthold Ephraim Lessing. He was born near Breslau, and was a pupil of Heinrich Anton Dähling at the Berlin Academy. He first devoted himself to landscape. In this period of his artistic career Lessing was influenced by the landscapes of Caspar David Friedrich: his themes he depicted were castle ruins, forgotten cemeteries, rugged rock formations, which he inhabited with figures of monks, knights and thieves. In 1826 obtained a prize with his Cemetery in Ruins. He accompanied Friedrich Wilhelm Schadow to Düsseldorf, where he continued his studies, devoting himself to historical paintings. In 1830, when Schadow went to Italy, Lessing occupied his place as director of the academy, exercising great influence on the Düsseldorf school of painting. His picture Das trauernde Königspaar (Mourning Royal Couple) brought him great popularity. In 1837, he received a gold medal in Paris; he was a member of the Berlin Academy and was the recipient of several orders. In 1858 he was appointed director of the gallery in Karlsruhe, where he continued his activity as a painter until his death in 1880.
Tuesday, May 2, 2017
EL CHIMBORAZO PAINTED BY FRIEDRICH WEITSCH
The painter
Friedrich Georg Weitsch was a German painter and etcher. Weitsch began his artistic training with his father, "Pascha" Johann Friedrich Weitsch (1723–1803). He attended the Kunstakademie Düsseldorf. After traveling to Amsterdam and Italy between 1784 and 1787, he returned home and became court painter to Charles William Ferdinand, Duke of Brunswick. In 1794 he became a member of the Berlin Academy of Art and became its director in 1798 (succeeding Bernhard Rode). His work included landscapes, history and religious painting, and portraits of royal and civil authorities—the latter showing the influence of Anton Graff. Some are held at the Herzog Anton Ulrich Museum, the Städtisches Museum, and the Braunschweigisches Landesmuseum, all in Braunschweig. He painted the very famous painting of the Chimborazo (above) featuring the portrait of Alexander von Humboldt with landscape he imagined as well as the portrait ofAimé Bonpland and Carlos Montufarin Ecuador, he never saw.
Tuesday, January 16, 2018
KORYAKSKY BY FRIEDRICH GEORG WEITSCH
The mountain
Koryaksky 3,456 m (11,339 ft) or Koryakskaya Sopka Коря́кская со́пка) is an active volcano on the Kamchatka Peninsula in the Russian Far East, the asian part of russia. It lies within sight of Kamchatka Krai's administrative center, Petropavlovsk-Kamchatsky. Together with neighbouring Avachinsky, it has been designated a Decade Volcano, worthy of particular study in light of its history of explosive eruptions and proximity to populated areas.
Koryaksky lies on the Pacific Ring of Fire, at a point where the Pacific Plate is sliding underneath the Eurasian Plate at about 80 mm/year. A wedge of mantle material lying between the subducting Pacific Plate and the overlying Eurasian Plate is the source of dynamic volcanism over the whole Kamchatka Peninsula. The volcano has probably been active for tens of thousands of years. Geological records indicate that there have been three major eruptions in the last 10,000 years, at 5500 BC, 1950 BC and 1550 BC. These three eruptions seem to have been mainly effusive, generating extensive lava flows. Koryaksky erupted for the first time in recorded history in 1890. The eruption was characterised by lava emissions from fissures that opened up on the volcano's southwestern flank, and by phreatic explosions. It was thought to have erupted again five years later, but it was later shown that no eruption had occurred; what was thought to be an eruption column was simply steam generated by strong fumarolic activity. Another brief, moderately explosive eruption occurred in 1926, after which the volcano lay dormant until 1956. The 1956 eruption was more explosive than the previous known eruptions, with VEI=3, and generated pyroclastic flows and lahars. The eruption continued until June 1957. On December 29, 2008, Koryaksky erupted with a 6,000 m (20,000 ft) plume of ash, the first major eruption in 3,500 years.
In light of its proximity to Petropavlovsk-Kamchatsky, Koryaksky was designated a Decade Volcano in 1996 as part of the United Nations' International Decade for Natural Disaster Reduction, together with the nearby Avachinsky volcano.
The painter
Friedrich Georg Weitsch was a German painter and etcher. Weitsch began his artistic training with his father, "Pascha" Johann Friedrich Weitsch (1723–1803). He attended the Kunstakademie Düsseldorf. After traveling to Amsterdam and Italy between 1784 and 1787, he returned home and became court painter to Charles William Ferdinand, Duke of Brunswick. In 1794 he became a member of the Berlin Academy of Art and became its director in 1798 (succeeding Bernhard Rode). His work included landscapes, history and religious painting, and portraits of royal and civil authorities—the latter showing the influence of Anton Graff. Some are held at the Herzog Anton Ulrich Museum, the Städtisches Museum, and the Braunschweigisches Landesmuseum, all in Braunschweig. He painted the very famous painting of the Chimborazo featuring the portrait of Alexander von Humboldt with landscape he imagined as well as the portrait of Aimé Bonpland and Carlos Montufarin Ecuador, he never saw.
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2018 - Wandering Vertexes...
by Francis Rousseau
Tuesday, July 4, 2017
HOHER DACHSTEIN BY CARL ROTTMANN
Being the highest point of two different Bundesländer, the summit is a popular goal in both summer and winter. In fine weather as many as 100 climbers may be attempting the ascent, leading to congestion at key sections of the climb.
The painter
Carl Anton Joseph Rottmann was a German landscape painter and the most famous member of the Rottmann family of painters. Rottmann belonged to the circle of artists around the Ludwig I of Bavaria, who commissioned large landscape paintings exclusively from him. He is best known for mythical and heroising landscapes. The landscape painter Karl Lindemann-Frommel belonged to his school. Rottmann received his first drawing lessons from his father, Friedrich Rottmann, who taught drawing at the university in Heidelberg. He formed himself chiefly through the study of nature and of great masterworks. In his first artistic period, he painted atmospheric phenomena. After gaining prominence with Heidelberg at Sunset (a water color), and Castle Eltz, he settled in Munich in 1822 and devoted himself to Bavarian scenery. Here his second period began, and in 1824 he married Friedericke, the daughter of his uncle, Friedrich Ludwig von Sckell, who served as an attendant at court. Through this connection, he made the acquaintance of King Ludwig I of Bavaria, who in 1826/27 sponsored his travels in Italy in order to widen his repertoire, which up to that point consisted solely of domestic, German, landscapes. In Italy, Rottmann made sketches for the 28 Italian landscapes in fresco which he was commissioned to paint in the arcades of the Hofgarten at Munich. The cycle, completed in 1833, gave visual expression to Ludwig’s alliance with Italy, and raised the genre of landscape painting to the height of history painting, the preferred mode of the King’s other great commissions for monumental painting. The frescos unfortunately deteriorated under climatic influences. The cartoons for them are in the Darmstadt Gallery.
In 1834 Rottmann traveled to Greece to prepare for a commission from Ludwig for a second cycle; one might mark here the beginning of his third period. At first also intended for the Hofgarten arcade, the 23 great landscapes were eventually installed in the newly built Neue Pinakothek where they were given their own hall.
Saturday, February 5, 2022
LOS FRAILES OR THE ORGANS OF ACTOPAN BY ALEXANDER VON HUMBOLDT
WILHELM FRIEDRICH ( 1760-1820), engraver
The Organs of Actopan or Los Frailes (1,140 m - 3,740 ft)
Mexico (Hidalgo)
About this engraving and the mountain
On May 23 and 24, Humboldt would tour the Actopan Valley, and then leave on May 25 for Mexico City. During the visit, Humboldt drew and studied the Organs of Actopan, also known as Los Frailes,located 17 km southeast of Actopan in the municipality of El Arenal. Humboldt determines their height trigonometrically.In Actopan. The slender part of the rock is a hundred meters high; but the absolute elevation of the summit of the mountain, where the Organos begin to stand out, is 585 toises (1,140 m - 3,740 ft) . It is on the way from Mexico to the mines of Guanaxuatotjuon distinguishes from very far away, and standing out on Thoiizon, the rock of Mamanchota: it rises in the middle of a forest of oaks, and oflers a very picturesque aspect.
The artist and explorer
Friedrich Wilhelm Heinrich Alexander von Humboldt was a Prussian geographer, naturalist, explorer, and influential proponent of Romantic philosophy and science. He was the younger brother of the Prussian minister, philosopher, and linguist Wilhelm von Humboldt (1767–1835). Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Humboldt's advocacy of long-term systematic geophysical measurement laid the foundation for modern geomagnetic and meteorological monitoring.
Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. Humboldt was one of the first people to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Humboldt resurrected the use of the word cosmos from the ancient Greek and assigned it to his multi-volume treatise, Kosmos, in which he sought to unify diverse branches of scientific knowledge and culture. This important work also motivated a holistic perception of the universe as one interacting entity.
On their way back to Europe from Mexico on their way to the United States, Humboldt and his fellow scientist Aimé Bonpland stopped in Cuba for a while. After their first stay in Cuba of three months they returned the mainland at Cartagena de Indias (now in Colombia), a major center of trade in northern South America. Ascending the swollen stream of the Magdalena River to Honda and arrived in Bogotá on July 6, 1801 where they met Spanish botanist José Celestino Mutis, the head of the Royal Botanical Expedition to New Granada, staying there until September 8, 1801. Mutis was generous with his time and gave Humboldt access to the huge pictorial record he had compiled since 1783. Humboldt had hopes of connecting with the French sailing expedition of Baudin, now finally underway, so Bonpland and Humboldt hurried to Ecuador. They crossed the frozen ridges of the Cordillera Real, they reached Quito on 6 January 1802, after a tedious and difficult journey.
Their stay in Ecuador was marked by the ascent of Pichincha and their climb of Chimborazo, where Humboldt and his party reached an altitude of 19,286 feet (5,878 m). This was a world record at the time, but a thousand feet short of the summit. Humboldt's journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru.
At Callao, the main port for Peru, Humboldt observed the transit of Mercury. On 9 November and studied the fertilizing properties of guano, rich in nitrogen, the subsequent introduction of which into Europe was due mainly to his writings.
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2022 - Wandering Vertexes...
by Francis Rousseau
Sunday, September 24, 2023
LE SOGNEFJORD PEINT PAR JOHAN CHRISTIAN DAHL
Sognefjord (1000m)
Norvège
In Winter at the Sognefjord (February 1827) Huile sur toile, 75.5 x 61.5 cm. Nasjonalgalleriet, Oslo
Le Fjord
Le
Sognefjord (plus de 1000 mètres) Sognefjorden en norvégien, est un
fjord situé au nord de Bergen, en Norvège. Le Sognefjord est le fjord le
plus long d'Europe et le deuxième plus long du monde après le Scoresby
Sund au Groenland ; il s'agit également du fjord le plus large de
Norvège. Situé dans le comté de Sogn og Fjordane dans l'ouest de la
Norvège, il s'enfonce dans les terres sur 204 kilomètres, jusqu'à la
ville de Skjolden. Sa profondeur atteint 1 308 mètres en dessous du
niveau de la mer. Les profondeurs maximales sont atteintes un peu à
l'intérieur des terres : près de son embouchure, le fond du fjord monte
de façon abrupte jusqu'à un plateau situé à 100 m en dessous du niveau
de la mer. La largeur moyenne du Sognefjord est d'environ 4,5 km. Des
falaises le surplombent jusqu'à des hauteurs supérieures à 1 000 m.
Parmi les villes situées sur le fjord et ses bras, on peut citer
Balestrand, Gudvangen et Flåm. La beauté du fjord en fait une
destination touristique très prisée. De nombreuses croisières sont
possibles sur le Sognefjord, été comme hiver. Une ligne touristique de
chemin de fer, la ligne de Flåm, longe le Sognefjord.
Le peintre
Johan Christian Dahl (ou J. C. Dahl) est un peintre paysagiste norvégien. issu d'un milieu simple : son père étant un pêcheur modeste de Bergen, en Norvège. Enfant, Dahl étudie à la cathédrale de Bergen pour devenir prêtre, mais ses capacités artistique précoces l'amènent à tenter une carrière dans la peinture. De 1803 à 1809, il étudie avec le peintre Johan Georg Müller , dont l'atelier est alors le plus important de Bergen. Il se met à travailler la peinture pour des décors de théâtre, s'essaie à l'art du portrait et des vues de Bergen et de ses environs. Dahl poursuit ses études à l'Académie de Copenhague, ville dont il peint la campagne environnante. En 1812, il écrit à Lyder Sagen, l'un de ses mentors, que Jacob van Ruisdael et Caesar van Everdingen sont parmi les paysagistes qu'il a le plus imités.
Dahl participe à des expositions d'art annuelles à Copenhague à partir de 1812, mais sa vraie percée se produit en 1815, quand il expose pas moins de treize tableaux. Le prince danois Christian Frederik veille à ce que ses œuvres soit achetées pour la collection royale ; il devient aussi un ami et un mécène de l'artiste. En 1816, Dahl rencontre C.W. Eckersberg et devient son ami. Après son succès à Copenhague, Dahl devient un artiste indépendant. Toutefois, ses préférences académiques demeurent attachées aux peintures historiques véhiculant des messages moraux, ainsi qu'aux paysages pourtant considérés comme un art bas et, dans certains milieux, même pas comme de l'art du tout mais comme une imitation purement mécanique de la nature. Les seuls paysages pouvant être considérés comme de l'art, selon l'Académie, sont des idéaux, des paysages imaginaires dans les styles pastoral ou héroïque. Conformément à ce goût régnant alors, Dahl tente de donner à ses thèmes danois un certain caractère atmosphérique afin de les élever au-dessus de ce qui est alors considéré comme un niveau artistique purement commercial. En même temps, il conserve intact son désir le plus profond de donner une image plus fidèle de la nature norvégienne. Cette volonté reste en partie motivée par la nostalgie et le patriotisme, mais il s'agit également d'une marque d'adaptation de la sensibilité de l'artiste au goût du public. En septembre 1818, Dahl se rend à Dresde. Il y rencontre Caspar David Friedrich qui l'aide à s'y établir et devient un ami proche. Un critique écrit : « Friedrich produit alors des paysages minutieusement exécutés - exemples d'un art informé par son éducation protestante stricte et d'une recherche de la volonté divine dans la nature - qui ont été à juste titre célèbres au moment où il fait la connaissance de Dahl. De cette période, nous sommes en mesure de voir ses Deux hommes contemplant la lune (1819) ; tout comme le tableau Greifswald au clair de lune (1816-1817) qui dépeint la ville natale de l'artiste, en Poméranie, sur la côte de la Baltique: baignant dans un même clair de lune. » De Dresde, Dahl voyage à la campagne pour rechercher des sujets qui pourraient lui être utiles dans les grands travaux qui seraient peints plus tard dans son atelier. Il écrit au prince Christian Frederik en 1818 que « la plupart du temps, [il] représente la nature dans toute sa liberté et sa sauvagerie ». Dahl a assez de matière dans la région de Dresde pour fournir des motifs pour ses peintures, mais il continue à peindre des paysages imaginaires de forêts, de montagnes et de cascades. Par exemple, une peinture intitulée Norsk fjellandskap med elv (Montagnes du paysage norvégien avec un fleuve), achevée en 1819, suscite une grande attention parmi les jeunes artistes. Une autre peinture, représentant une monumentale chute d'eau, est achevée en 1820. La même année, Dahl est accepté à l'Académie de Dresde. Le prince Christian Frederik écrit à Dahl en 1820 depuis l'Italie et l'invite à le rejoindre sur le golfe de Naples. Il y passe finalement dix mois. Ce séjour devient un facteur décisif de son développement artistique. C'est en Italie, avec sa forte lumière méridionale, que l'art de Dahl atteint véritablement son apogée.
Dahl est à Rome en février 1821. Il passe beaucoup de temps à visiter les musées, rencontre des artistes et peint. Parmi les sujets que lui inspire l'Italie, il peint le site de Rome et le golfe de Naples. En tant que membre de l'académie, Dahl consacre toujours une partie de son temps à la formation de jeunes artistes. En 1824, Caspar David Friedrich le nomme professeur extraordinaire, ce qui lui permet de recevoir un salaire régulier. Parmi ses élèves, figurent Knud Baade, Peder Balke et Thomas Fearnley. Avec son épouse, Dahl vit à Dresde à partir de 1823. En 1827, Emilie Dahl meurt quand elle accouche de leur quatrième enfant. En 1829, leur second enfant meurt de la scarlatine. En janvier 1830, Dahl épouse son élève Amalie von Bassewitz, mais elle aussi meurt en couches en décembre de la même année. Quelques années plus tard, son plus jeune enfant meurt, laissant Dahl avec deux enfants survivants, Caroline et Siegwald. Bien que vivant à Dresde, il multiplie les voyages en Norvège, où il se rend en 1826, 1834, 1839, 1844 et 1850, la plupart du temps pour peindre les montagnes. Lors de son dernier voyage en Norvège en 1850, il se découvre vieillissant et très affaibli, bien qu'il s'astreint à continuer de peindre des paysages dans les montagnes. Ce dernier voyage dans son pays natal est toutefois l'occasion pour lui de réaliser plusieurs de ses œuvres parmi les plus saisissantes.
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2023 - Wandering Vertexes ....
Errant au-dessus des Sommets Silencieux...
Un blog de Francis Rousseau