Man and Woman Contemplating the Moon

Caspar David Friedrich - Mann und Frau in Betrachtung des Mondes - Alte Nationalgalerie Berlin

Man and Woman Contemplating the Moon is an 1824 painting by Caspar David Friedrich. The painting’s material is oil on canvas and stands 34 centimeters tall by 44 centimeters wide. It currently resides in the Nationalgalerie, Berlin, Germany.

Man and Woman Contemplating the Moon is a German Romantic landscape painting which features two human figures among a dark forest silhouetted against a pastel sky. The work's dark toned foreground and light colored background create a sharp contrast. The sky suggests that the time is around dusk, with the waxing crescent moon close to setting. A dead, uprooted tree's dark roots and branches sharply contrast with the pastel sky in the background. The jagged branches and stark contrast seem to create a threatening environment for the figures, and are reminiscent of the imposing gothic style seen originally in the medieval era, but revived in the Romantic era. The same can be said of the dark, shadowy trees and rocks surrounding the couple in the piece. The figures themselves are even dressed in dark colors and stiff, somewhat formal garments, which also serve to signify their higher class. The piece focuses heavily on nature as the couple gaze off into the sunset, and provokes an emotional response from the viewer, as well as from the figures featured in the piece. It also emphasizes spirituality in nature and the presence of the sublime, major themes of the Romantic era. The piece is an idealization of man’s connection to nature, represented by an average couple in higher society surrounded by an unexpected landscape otherwise untouched by civilization.

In the piece, the man and woman featured are facing away from the viewer, centered vertically, and located left of center horizontally. The woman's arm is resting of the man’s shoulder, acknowledging their close relationship and her need for protection and intimacy. The serene and contemplative pose of the couple contrasts sharply with the contorsions of the half uprooted oak tree, which is itself in opposition with the verticality of the lush pine tree on the left. This irregular and asymmetrical pictorial construction - one linked with the post-Baroque aesthetic of the previous century- was fairly rare in Friedrich's work, often characterized by regular geometric arrangements.[1]

Friedrich created another version of this painting titled Two Men Contemplating the Moon, and, as the name suggests, it lacks the female figure. It has been said that the addition of the female figure is an homage to the artist’s relationship with his own wife.[2] They are viewing the moon together in the middle of the forest, signifying an appreciation of and emotional response to nature. The figures seem to be in awe of the natural creation and inspired by the sublime creator. The viewer is meant to identify with the figures, and participate in their contemplation of nature and the sublime.

Romanticism

Romanticism was an artistic, literary, and intellectual movement which reached its peak in the first half of the nineteenth century. It began as a reaction to the Industrial Revolution, the Enlightenment, and the cold and scientific rationalization of nature prominent in the preceding era.[3][4] Romanticism, in contrast, emphasizes the value of emotion, intuition, and sentiment. Friedrich captured the spirit of the age in the quote “The artist’s feeling is his law.”[5]

The artist

Caspar David Friedrich was a prominent Romantic painter, and his work was widely regarded as the epitome of German Romanticism. He lived from September 5, 1774 to May 7, 1840, during the height of the Romantic period. He was the sixth of ten children, raised by a strict Lutheran father.[6] This religious influence became very important to Friedrich, and a major part of the reason his works epitomize Romanticism. The Romantics emphasize elements of the sublime, and to Friedrich, Christ is the sublime. Three of Friedrich’s siblings and his mother died while he was still a child, so he was exposed to death and the concept of human mortality from an early age. This became a theme in many of his works. In Man and Woman Contemplating the Moon, the uprooted tree represents death, yet its contrast with the clear, bright sky represents hope, eternal life, and closeness to the sublime, or Christ.[7][8] Friedrich lived in Dresden for the majority of his adult life, and was married to Caroline Bommer in 1818. She became an influence on his work as well. The woman in Man and Woman Contemplating the Moon is meant to represent her. During his lifetime Friedrich was said to be the most important German artist of his generation, yet he fell from favor and died in obscurity and “half mad.”[9][10] His work is known for featuring isolated figures juxtaposed against vast landscapes. Perhaps his best known example of this is his piece Wanderer Above the Sea of Fog. This piece has been widely used and regarded as the very definition of German Romanticism. His work is meant to emphasize nature, which Romantics saw as a manifestation of the sublime, and seek an emotional response from the viewer, which is often represented in the figures seen in his works. His pieces are meant to capture instances of sublimity and a connection to the spiritual self.

References

  1. ↑ Sala, Charles. Terrail. Caspar David Friedrich: The Spirit of Romantic Painting Bayard Press S.A 1994
  2. ↑ Web Gallery of Art, Man and Woman Contemplating the Moon, under “Caspar David Friedrich,” http://www.wga.hu/html_m/f/friedric/3/310fried.html.
  3. ↑ Encyclopædia Britannica, “Romanticism,” Britannica.com (October 31, 2014), http://www.britannica.com/EBchecked/topic/508675/Romanticism.
  4. ↑ Casey, Christopher. “‘Grecian Grandeurs and the Rude Wasting of Old Time’: Britain, the Elgin Marbles, and Post-Revolutionary Hellenism.” Foundations 3, no. 1 (October 30, 2008), https://web.archive.org/web/20090513053304/http://ww2.jhu.edu/foundations/?p=8.
  5. ↑ Novotny, Fritz. Painting and Sculpture in Europe, 1780–1880. New Haven: Yale University Press, 1971.
  6. ↑ Vaughan, William. Friedrich. Oxford Oxfordshire: Phaidon Press, 2004
  7. ↑ Johnston, Catherine, Helmut R. Leppien, and Kasper Monrad. Baltic Light: Early Open-Air Painting in Denmark and North Germany. New Haven: Yale University Press, 1999.
  8. ↑ Börsch-Supan, Helmut. “Caspar David Friedrich's Landscapes with Self-Portraits.” The Burlington Magazine 114, no. 834 (September 1972): 620–630.
  9. ↑ Vaughan, William. German Romantic Painting. New Haven: Yale University Press, 1980.
  10. ↑ Miller, Philip B. “Anxiety and Abstraction: Kleist and Brentano on Caspar David Friedrich.” Art Journal 33, no. 3 (Spring 1974): 205–210.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.