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Amazing artistic depictions of painting the landscape. Landscape Paintings - Laura Culic Art. This is a selection of my landscape paintings, some of which are available at one of the exceptional galleries that carry my art throughout Ontario, Canada. You can also view some of my abstract work, and landscape paintings that are more abstracted or conceptual. Pastel Landscape Landscape Art Landscape Paintings Winter Scenery Winter Trees Winter Art Watercolor Scenery Watercolor Landscape Abstract Paintings. Winter landscape near Kutterling by Johann Sperl. Winter landscape near Kutterling, (o. John Burton art videos, art lessons, art classes, art workshops available for landscape painters in oil, acrylics, and gouache. Learn how to paint the landscape. Member of the Plein Air Painters of America (PAPA). See more ideas about california landscape, art workshop, oil painters.� John #Burton American landscape painter. Oil painter of California landscapes and the great outdoors. John Burton art videos, art lessons, art classes, art workshops available for landscape painters in oil, acrylics, and gouache. Learn how to paint the landscape. Member of the Plein Air Painters of America (PAPA). Painting the landscape is a way for me to express what I love so much about living in Maine. With so many incredible places to use as subject matter, inspiration is everywhere. Landscape painting is a way to represent the feeling of distance and the time of day that no other genre can do. Landscapes. Apricot Tree on Munjoy Hill. Stonington Motif. School in Snow. Monhegan Cottage. Harbor Scene.

Caspar David Friedrich 5 September � 7 May was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. His primary interest 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 Landscape Artist Versailles Crossword Clue Comes 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 the town of Greifswald on the Baltic Sea in what was at the time Swedish Pomerania.

He studied in Copenhagen until , before settling in Dresden. He came of age during a period when, across Europe, a growing disillusionment with materialistic society was giving rise to a new appreciation of spirituality.

This shift in ideals was often expressed through a reevaluation of the natural world, as artists such as Friedrich, J. Turner and John Constable 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 spoke of him as a man who had discovered "the tragedy of landscape". The early 20th century brought a renewed appreciation of his work, beginning in with an exhibition of thirty-two of his paintings in Berlin.

By the s his paintings had been discovered by the Expressionists , and in the s and early s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early s 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.

His mother, Sophie, died in when he was seven. Friedrich began his formal study of art in as a private student of artist Johann Gottfried Quistorp at the University of Greifswald in his home city, at which the art department is now named Caspar-David-Friedrich-Institut [15] in his honour.

Quistorp took his students on outdoor drawing excursions; as a result, Friedrich was encouraged to sketch from life at an early age. Four Landscape Artists North Yorkshire Job years later Friedrich entered the prestigious Academy of Copenhagen , where he began his education by making copies of casts from antique sculptures before proceeding to drawing from life.

These artists were inspired by the Sturm und Drang movement and represented a midpoint between the dramatic intensity and expressive manner of the budding Romantic aesthetic and the waning neo-classical ideal. Mood was paramount, and influence was drawn from such sources as the Icelandic legend of Edda , the poems of Ossian and Norse mythology. Friedrich settled permanently in Dresden in During this early period, he experimented in printmaking with etchings [20] and designs for woodcuts which his furniture-maker brother cut.

By he had produced 18 etchings and four woodcuts; they were apparently made in small numbers and only distributed to friends. With the exception of a few early pieces, such as Landscape with Temple in Ruins , he did not work extensively with oils until his reputation was more established. He executed his studies almost exclusively in pencil, even providing topographical information, yet the subtle atmospheric effects characteristic of Friedrich's mid-period paintings were rendered from memory.

His reputation as an artist was established when he won a prize in at the Weimar competition organised by Johann Wolfgang von Goethe. At the time, the Weimar competition tended to draw mediocre and now-forgotten artists presenting derivative mixtures of neo-classical and pseudo-Greek styles. The poor quality of the entries began to prove damaging to Goethe's reputation, so when Friedrich entered two sepia drawings� Procession at Dawn and Fisher-Folk by the Sea �the poet responded enthusiastically and wrote, "We must praise the artist's resourcefulness in this picture fairly.

The drawing is well done, the procession is ingenious and appropriate Friedrich completed the first of his major paintings in , at the age of Cross in the Mountains , today known as the Tetschen Altar , is an altarpiece panel said to have been commissioned [27] for a family chapel in Tetschen , Bohemia.

The panel depicts a cross in profile at the top of a mountain, alone, and surrounded by pine trees. According to art historian Linda Siegel, Friedrich's design was the "logical climax of many earlier drawings of his which depicted a cross in nature's world.

Although the altarpiece was generally coldly received, it was Friedrich's first painting to receive wide publicity. The artist's friends publicly defended the work, while art critic Basilius von Ramdohr published a long article challenging Friedrich's use of landscape in a religious context. He rejected the idea that landscape painting could convey explicit meaning, writing that it would be "a veritable presumption, if landscape painting were to sneak into the church and creep onto the altar".

Following the purchase of two of his paintings by the Prussian Crown Prince, Friedrich was elected a member of the Berlin Academy in The move was not expected; the Saxon government was pro-French, while Friedrich's paintings were seen as generally patriotic and distinctly anti-French. On 21 January , Friedrich married Caroline Bommer, the twenty-five-year-old daughter of a dyer from Dresden.

Around this time, he found support from two sources in Russia. In , the Grand Duke Nikolai Pavlovich , at the behest of his wife Alexandra Feodorovna , visited Friedrich's studio and returned to Saint Petersburg with a number of his paintings, an exchange that began a patronage that continued for many years. For decades Zhukovsky helped Friedrich both by purchasing his work himself and by recommending his art to the royal family; his assistance toward the end of Friedrich's career proved invaluable to the ailing and impoverished artist.

Zhukovsky remarked that his friend's paintings "please us by their precision, each of them awakening a memory in our mind. Friedrich was acquainted with Philipp Otto Runge , another leading German painter of the Romantic period.

He was also a friend of Georg Friedrich Kersting , and painted him at work in his unadorned studio, and of the Norwegian painter Johan Christian Clausen Dahl � Dahl was close to Friedrich during the artist's final years, and he expressed dismay that to the art-buying public, Friedrich's pictures were only "curiosities". They did not see Friedrich's faithful and conscientious study of nature in everything he represented".

During this period Friedrich frequently sketched memorial monuments and sculptures for mausoleums , reflecting his obsession with death and the afterlife; he even created designs for some of the funerary art in Dresden's cemeteries. Some of these works were lost in the fire that destroyed Munich 's Glass Palace and later in the bombing of Dresden.

Friedrich's reputation steadily declined over the final fifteen years of his life. As the ideals of early Romanticism passed from fashion, he came to be viewed as an eccentric and melancholy character, out of touch with the times. Gradually his patrons fell away. In June , Friedrich suffered his first stroke , which left him with minor limb paralysis and greatly reduced his ability to paint. Although his vision remained strong, he had lost the full strength of his hand.

Yet he was able to produce a final 'black painting', Seashore by Moonlight �36 , described by Vaughan as the "darkest of all his shorelines, in which richness of tonality compensates for the lack of his former finesse". Symbols of death appeared in his other work from this period. During the mids, Friedrich began a series of portraits and he returned to observing himself in nature.

As the art historian William Vaughan has observed, however, "He can see himself as a man greatly changed. He is no longer the upright, supportive figure that appeared in Two Men Contemplating the Moon in He is old and stiff By , he was capable only of working in a small format. He and his family were living in poverty and grew increasingly dependent for support on the charity of friends.

Friedrich died in Dresden on 7 May , and was buried in Dresden's Trinitatis-Friedhof Trinity Cemetery east of the city centre the entrance to which he had painted some 15 years earlier. The simple flat gravestone lies north-west of the central roundel within the main avenue. By the time of his death, his reputation and fame were waning, and his passing was little noticed within the artistic community.

While the close study of landscape and an emphasis on the spiritual elements of nature were commonplace in contemporary art, his work was too original and personal to be well understood. After his death, Carl Gustav Carus wrote a series of articles which paid tribute to Friedrich's transformation of the conventions of landscape painting.

However, Carus' articles placed Friedrich firmly in his time, and did not place the artist within a continuing tradition. What the newer landscape artists see in a circle of a hundred degrees in Nature they press together unmercifully into an angle of vision of only forty-five degrees. And furthermore, what is in Nature separated by large spaces, is compressed into a cramped space and overfills and oversatiates the eye, creating an unfavorable and disquieting effect on the viewer.

The visualisation and portrayal of landscape in an entirely new manner was Friedrich's key innovation.

He sought not just to explore the blissful enjoyment of a beautiful view, as in the classic conception, but rather to examine an instant of sublimity , a reunion with the spiritual self through the contemplation of nature. Friedrich was instrumental in transforming landscape in art from a backdrop subordinated to human drama to a self-contained emotive subject. He often used the landscape to express religious themes. During his time, most of the best-known paintings were viewed as expressions of a religious mysticism.

Friedrich said, "The artist should paint not only what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also refrain from painting that which he sees before him. Otherwise, his pictures will be like those folding screens behind which one expects to find only the sick or the dead. Though death finds symbolic expression in boats that move away from shore�a Charon -like motif�and in the poplar tree, it is referenced more directly in paintings like The Abbey in the Oakwood �10 , in which monks carry a coffin past an open grave, toward a cross, and through the portal of a church in ruins.

He was one of the first artists to portray winter landscapes in which the land is rendered as stark and dead. Friedrich's winter scenes are solemn and still�according to the art historian Hermann Beenken, Friedrich painted winter scenes in which "no man has yet set his foot.

The theme of nearly all the older winter pictures had been less winter itself than life in winter. In the 16th and 17th centuries, it was thought impossible to leave out such motifs as the crowd of skaters, the wanderer It was Friedrich who first felt the wholly detached and distinctive features of a natural life.

Instead of many tones, he sought the one; and so, in his landscape, he subordinated the composite chord into one single basic note". Bare oak trees and tree stumps, such as those in Raven Tree c. With dawn and dusk constituting prominent themes of his landscapes, Friedrich's own later years were characterized by a growing pessimism. His work becomes darker, revealing a fearsome monumentality.

The Wreck of the Hope �also known as The Polar Sea or The Sea of Ice �24 �perhaps best summarizes Friedrich's ideas and aims at this point, though in such a radical way that the painting was not well received. Completed in , it depicted a grim subject, a shipwreck in the Arctic Ocean; "the image he produced, with its grinding slabs of travertine -colored floe ice chewing up a wooden ship, goes beyond documentary into allegory: the frail bark of human aspiration crushed by the world's immense and glacial indifference.

Friedrich's written commentary on aesthetics was limited to a collection of aphorisms set down in , in which he explained the need for the artist to match natural observation with an introspective scrutiny of his own personality. His best-known remark advises the artist to "close your bodily eye so that you may see your picture first with the spiritual eye. Then bring to the light of day that which you have seen in the darkness so that it may react upon others from the outside inwards.

Both Friedrich's life and art have at times been perceived by some to have been marked with German Expressionist Landscape Artist Program an overwhelming sense of loneliness. Friedrich suffered depressive episodes in , �, c.

There are noticeable thematic shifts in the works he produced during these episodes, which see the emergence of such motifs and symbols as vultures, owls, graveyards and ruins. Carus wrote in that Friedrich "is surrounded by a thick, gloomy cloud of spiritual uncertainty", though the noted art historian and curator Hubertus Gassner disagrees with such notions, seeing in Friedrich's work a positive and life-affirming subtext inspired by Freemasonry and religion.

Reflecting Friedrich's patriotism and resentment during the French occupation of the dominion of Pomerania , motifs from German folklore became increasingly prominent in his work. An anti-French German nationalist, Friedrich used motifs from his native landscape to celebrate Germanic culture, customs and mythology. In Old Heroes' Graves , a dilapidated monument inscribed " Arminius " invokes the Germanic chieftain, a symbol of nationalism, while the four tombs of fallen heroes are slightly ajar, freeing their spirits for eternity.

Two French soldiers appear as small figures before a cave, lower and deep in a grotto surrounded by rock, as if farther from heaven.

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