Il Viandante sul mare di nebbia di Friedrich | Analisi dell'opera
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Caspar David Friedrich, The Wanderer
Caspar David Friedrich, The Wanderer on the Sea of Fog (1818). Hamburger Kunsthalle, oil on canvas 98.4 x 74.8cm.
For further information Friedrich: https://amzn.to/2Hz0yMK
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"Caspar Friedrich's Walker on the Sea of Fog shows us a man from behind, dressed in traditional German clothing of a dark green hue. He stands on steep rocks facing an overhang. He holds a stick in his hand and has hair The expression on his face is forbidden to us, but we understand that the man, from the privileged elevated position he has reached by climbing with difficulty, is observing a vast landscape that opens up in front of him.
The psychological context seems to be that of a moment of stasis, of reflection, of contemplation in a wider context. Man is a traveler, a being who walks along the existential path strewn with obstacles and who symbolically has reached a peak, which is an observation point but not an arrival point, a stage to reflect on one's path.
What opens up in front of him? An infinite sea.
Friedrich is extraordinary in making contrasting elements coexist in full harmony. The real landscape is that of mountains with precise geographical references to the Bohemian landscape.
It is therefore a mountain, but it is also the sea, because the fog that covers the landscape, as the title of the painting suggests, gives us the sensation of the movement of the water.
The rocks in the foreground may look like rocks. We might also confuse moving fog, like the foam of waves crashing on the rocks themselves. Further away, the slopes themselves might look like big waves.
The landscape shown in the picture is attributable to a real sandstone mountain massif located on the border between Saxony and Bohemia Elbsandsteingebirge that Friedrich visited collecting sketches.
Returning to the painting, we note the sparse vegetation that arises on the rock and then in particular this cylindrical profile that would recall the Zirkelstein, that is a hill at the top of which is a block of sandstone 40 meters high.
Friedrich then takes us to a territory that, although starting from real elements, is a fantastic and ideal landscape, which leverages the evocative power of the mountain and the sea at the same time, a concentrate of the symbolic power of nature.
On the one hand the mountain, a place of mystical purification, where the air is purer and you can breathe the sense of infinity, on the other the sea which is both the vastness of the ocean and the depth of the abyss.
Friedrich concentrates in this image the sense of the sublime that brings with it opposite feelings. The man in the fog sees and does not see, he feels strong and weak at the same time. He carries with him the firm will to continue his journey; we observe how the man is firmly planted on the rock with his feet and the stick, but at the same time he has to deal with something too big and unpredictable.
Any step forward could be a misstep.
Friedrich is always very attentive to the compositional balance.
We note how following the profile of man and that of the rocks a pyramid structure emerges.
We also see how the painter weighed the left and right parts of the picture in a game of balances.
II color:
The wanderer in the foreground as well as the rocks that make up the compositional triangle are against the light. In contrast, the warm yellow flashes of the sky are reflected on the sea of fog, making it luminescent, thus representing the crystalline atmosphere of the high mountains in an incisive way.
To conclude, the feeling that prevails in the painting is that of the sublime, which synthesizes and assimilates opposites, enchantment and dismay, strength and weakness in the face of something greater than us. Nature inspires him but only the close confrontation with himself leads to the composition of the work where every detail, in the contrast between the luminescence of the fog and the dark silhouette of man and the rocks in the foreground, is perfectly balanced.
Let me know what you think of the Wanderer on the Sea of Fog and Friedrich with a comment!
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The immense iconic strength of this painting, taken as a symbol of the whole romanticism, lies in my opinion in being able to grasp a perfect synthesis between finite and infinite, between the inexhaustible desire and yearning for discovery, growth and knowledge inherent in man. and the limitation of one's resources in the presence of a nature that is too large, elusive, in some way always unattainable on the physical plane. In this sense, the painting becomes an invitation to contemplative abandonment, to put aside our certainties to ideally embrace the meaning of everything.
For further information Friedrich: https://amzn.to/2Hz0yMK
Are you interested in art books? Subscribe to our Telegram channel: https://t.me/libridarte
"Caspar Friedrich's Walker on the Sea of Fog shows us a man from behind, dressed in traditional German clothing of a dark green hue. He stands on steep rocks facing an overhang. He holds a stick in his hand and has hair The expression on his face is forbidden to us, but we understand that the man, from the privileged elevated position he has reached by climbing with difficulty, is observing a vast landscape that opens up in front of him.
The psychological context seems to be that of a moment of stasis, of reflection, of contemplation in a wider context. Man is a traveler, a being who walks along the existential path strewn with obstacles and who symbolically has reached a peak, which is an observation point but not an arrival point, a stage to reflect on one's path.
What opens up in front of him? An infinite sea.
Friedrich is extraordinary in making contrasting elements coexist in full harmony. The real landscape is that of mountains with precise geographical references to the Bohemian landscape.
It is therefore a mountain, but it is also the sea, because the fog that covers the landscape, as the title of the painting suggests, gives us the sensation of the movement of the water.
The rocks in the foreground may look like rocks. We might also confuse moving fog, like the foam of waves crashing on the rocks themselves. Further away, the slopes themselves might look like big waves.
The landscape shown in the picture is attributable to a real sandstone mountain massif located on the border between Saxony and Bohemia Elbsandsteingebirge that Friedrich visited collecting sketches.
Returning to the painting, we note the sparse vegetation that arises on the rock and then in particular this cylindrical profile that would recall the Zirkelstein, that is a hill at the top of which is a block of sandstone 40 meters high.
Friedrich then takes us to a territory that, although starting from real elements, is a fantastic and ideal landscape, which leverages the evocative power of the mountain and the sea at the same time, a concentrate of the symbolic power of nature.
On the one hand the mountain, a place of mystical purification, where the air is purer and you can breathe the sense of infinity, on the other the sea which is both the vastness of the ocean and the depth of the abyss.
Friedrich concentrates in this image the sense of the sublime that brings with it opposite feelings. The man in the fog sees and does not see, he feels strong and weak at the same time. He carries with him the firm will to continue his journey; we observe how the man is firmly planted on the rock with his feet and the stick, but at the same time he has to deal with something too big and unpredictable.
Any step forward could be a misstep.
Friedrich is always very attentive to the compositional balance.
We note how following the profile of man and that of the rocks a pyramid structure emerges.
We also see how the painter weighed the left and right parts of the picture in a game of balances.
II color:
The wanderer in the foreground as well as the rocks that make up the compositional triangle are against the light. In contrast, the warm yellow flashes of the sky are reflected on the sea of fog, making it luminescent, thus representing the crystalline atmosphere of the high mountains in an incisive way.
To conclude, the feeling that prevails in the painting is that of the sublime, which synthesizes and assimilates opposites, enchantment and dismay, strength and weakness in the face of something greater than us. Nature inspires him but only the close confrontation with himself leads to the composition of the work where every detail, in the contrast between the luminescence of the fog and the dark silhouette of man and the rocks in the foreground, is perfectly balanced.
Let me know what you think of the Wanderer on the Sea of Fog and Friedrich with a comment!
Contact us and follow us here:
Email: [email protected]
Instagram: Instagram: 1000quadri
Facebook: Facebook: 1000quadri
The immense iconic strength of this painting, taken as a symbol of the whole romanticism, lies in my opinion in being able to grasp a perfect synthesis between finite and infinite, between the inexhaustible desire and yearning for discovery, growth and knowledge inherent in man. and the limitation of one's resources in the presence of a nature that is too large, elusive, in some way always unattainable on the physical plane. In this sense, the painting becomes an invitation to contemplative abandonment, to put aside our certainties to ideally embrace the meaning of everything.
4 سال پیش
در تاریخ 1399/08/04 منتشر شده
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