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Chalk Cliffs on Rügen

Chalk Cliffs on Rügen (German: Kreidefelsen auf Rügen) is an oil painting of circa 1818 by German Romantic artist Caspar David Friedrich.

Chalk Cliffs on Rügen
German: Kreidefelsen auf Rügen
ArtistCaspar David Friedrich
Year1818
MediumOil on canvas
Dimensions90.5 cm × 71 cm (35.6 in × 27.9 in)
LocationKunst Museum Winterthur – Reinhart am Stadtgarten, Winterthur

Development Edit

In January 1818, Caspar David Friedrich married Christiane Caroline Bommer, who was about 20 years his junior. On their honeymoon in July and August 1818, they visited relatives in Neubrandenburg and Greifswald. From there, the couple undertook an excursion to the island of Rügen with Friedrich's brother Christian. The painting appears as a celebration of the couple's union.

Description Edit

The painting depicts the view from the chalk cliffs of the Stubbenkammer, at that time one of the most famous lookout points on the island. It is frequently but incorrectly believed that the Wissower Klinken outcrops in particular were a model for the painting; however, these did not exist at the time of the painting's creation, but appeared later because of erosion. Friedrich often composed his landscapes from carefully chosen elements of different sketches, so that a specific location is not necessarily discernible.[1]

 
A later variation on the theme; watercolor, 1824, 25 × 32 cm

Two trees, whose leaves cover the upper third of the painting, frame the scenery. Two men and a woman in town clothes gaze in wonder at the view. The thin figure in the middle is usually interpreted as Caspar David Friedrich himself.[2] His hat lies beside him as a sign of humility. He seeks for a foothold in the grass as a symbol of the transience of life and looks into the abyss opening before him—the abyss of death. On the right, the man with crossed arms leans against the trunk of a dying tree and looks far out to the sea. The two tiny sailboats stand as symbols for the soul which opens to eternal life and correspond to the figures of the two men.[2] On the left, the woman in a red dress (who is usually identified as Friedrich's wife Caroline)[2] sits beside an almost dried-up shrub: only the twigs around her face are leafing out. With her right hand she points either at the abyss or at the flowers bordering it. In contrast to the men, who gaze either at the abyss or into the distance, she communicates with the other figures—whether she feels threatened by the abyss or compelled by the natural beauty is unclear.

The colors of the figure's clothes are also symbolic. The middle figure is blue, the color of faith; the left figure is red, that of love; and the right figure is green, that of hope. Thus they can be interpreted as embodiments of the three Christian theological virtues: faith, hope and love.[2] The art historian Helmut Börsch-Supan sees in the picture a representation of Friedrich's relation to death, and the threat to life by death: "clear [...] as almost never before, but at the same time also in an unusually serene mood".[2][3]

See also Edit

Notes Edit

  1. ^ Uta Baier: Am Ende bleibt nur die Kunst - Die Wissower Klinken und Caspar David Friedrich, article in Die Welt of 26 February 2005
  2. ^ a b c d e Helmut Börsch-Supan: Caspar David Friedrich. 4. erweiterte und überarbeitete Auflage, Prestel, Munich 1987, ISBN 3-7913-0835-1, p 118
  3. ^ "deutlich [...] wie kaum zuvor, zugleich aber auch in einer selten heiteren Stimmung"

References Edit

  • Börsch-Supan, H. (1987). Caspar David Friedrich (4th enlarged and revised edition). Munich: Prestel. ISBN 3-7913-0835-1
  • Schmied, Wieland (1992). Caspar David Friedrich. Cologne: DuMont. ISBN 3-8321-7207-6
  • Wolf, Norbert (2003). Caspar David Friedrich – Der Maler der Stille. Cologne: Taschen Verlag. ISBN 3-8228-1957-3

External links Edit

  •   Media related to Kreidefelsen auf Rügen at Wikimedia Commons

chalk, cliffs, rügen, german, kreidefelsen, rügen, painting, circa, 1818, german, romantic, artist, caspar, david, friedrich, german, kreidefelsen, rügenartistcaspar, david, friedrichyear1818mediumoil, canvasdimensions90, locationkunst, museum, winterthur, rei. Chalk Cliffs on Rugen German Kreidefelsen auf Rugen is an oil painting of circa 1818 by German Romantic artist Caspar David Friedrich Chalk Cliffs on RugenGerman Kreidefelsen auf RugenArtistCaspar David FriedrichYear1818MediumOil on canvasDimensions90 5 cm 71 cm 35 6 in 27 9 in LocationKunst Museum Winterthur Reinhart am Stadtgarten Winterthur Contents 1 Development 2 Description 3 See also 4 Notes 5 References 6 External linksDevelopment EditIn January 1818 Caspar David Friedrich married Christiane Caroline Bommer who was about 20 years his junior On their honeymoon in July and August 1818 they visited relatives in Neubrandenburg and Greifswald From there the couple undertook an excursion to the island of Rugen with Friedrich s brother Christian The painting appears as a celebration of the couple s union Description EditThe painting depicts the view from the chalk cliffs of the Stubbenkammer at that time one of the most famous lookout points on the island It is frequently but incorrectly believed that the Wissower Klinken outcrops in particular were a model for the painting however these did not exist at the time of the painting s creation but appeared later because of erosion Friedrich often composed his landscapes from carefully chosen elements of different sketches so that a specific location is not necessarily discernible 1 A later variation on the theme watercolor 1824 25 32 cmTwo trees whose leaves cover the upper third of the painting frame the scenery Two men and a woman in town clothes gaze in wonder at the view The thin figure in the middle is usually interpreted as Caspar David Friedrich himself 2 His hat lies beside him as a sign of humility He seeks for a foothold in the grass as a symbol of the transience of life and looks into the abyss opening before him the abyss of death On the right the man with crossed arms leans against the trunk of a dying tree and looks far out to the sea The two tiny sailboats stand as symbols for the soul which opens to eternal life and correspond to the figures of the two men 2 On the left the woman in a red dress who is usually identified as Friedrich s wife Caroline 2 sits beside an almost dried up shrub only the twigs around her face are leafing out With her right hand she points either at the abyss or at the flowers bordering it In contrast to the men who gaze either at the abyss or into the distance she communicates with the other figures whether she feels threatened by the abyss or compelled by the natural beauty is unclear The colors of the figure s clothes are also symbolic The middle figure is blue the color of faith the left figure is red that of love and the right figure is green that of hope Thus they can be interpreted as embodiments of the three Christian theological virtues faith hope and love 2 The art historian Helmut Borsch Supan sees in the picture a representation of Friedrich s relation to death and the threat to life by death clear as almost never before but at the same time also in an unusually serene mood 2 3 See also EditList of works by Caspar David FriedrichNotes Edit Uta Baier Am Ende bleibt nur die Kunst Die Wissower Klinken und Caspar David Friedrich article in Die Welt of 26 February 2005 a b c d e Helmut Borsch Supan Caspar David Friedrich 4 erweiterte und uberarbeitete Auflage Prestel Munich 1987 ISBN 3 7913 0835 1 p 118 deutlich wie kaum zuvor zugleich aber auch in einer selten heiteren Stimmung References EditBorsch Supan H 1987 Caspar David Friedrich 4th enlarged and revised edition Munich Prestel ISBN 3 7913 0835 1 Schmied Wieland 1992 Caspar David Friedrich Cologne DuMont ISBN 3 8321 7207 6 Wolf Norbert 2003 Caspar David Friedrich Der Maler der Stille Cologne Taschen Verlag ISBN 3 8228 1957 3External links Edit Media related to Kreidefelsen auf Rugen at Wikimedia Commons Retrieved from https en wikipedia org w index php title Chalk Cliffs on Rugen amp oldid 1110819415, wikipedia, wiki, book, books, library,

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