Caspar David Friedrich

"The beauty, the spirit of Germany, its sun, moon, stars, rocks, seas and rivers can never be expressed this way.."

"I just stepped out of the dark, still forest and found myself on a rising hill. In front of me I saw a valley, surrounded by fertile hills, in which a town stood and the newly covered slate roof of the tower glowed in the evening light. Through the richly-flowered, carpeted meadow the river meandered.. .And behind the hills lay the mountains.. ..cliff after cliff rose far out into the horizon.. .Filled with soaring joy I stood there a long time and looked at the beautiful area.."

"Gently rising hills block the view into the distance; line the wishes and desires of the children, who enjoy the blissful moments of the present without wanting to know what lies beyond. Bushes in bloom, nourishing herbs, and sweet-smelling flowers surround the quiet clear stream in which the pure blue of the cloudless sky is reflected like the glorious image of God in the souls of the children.. .There is no stone to be seen here, no withered branch, no fallen leaves. The whole of nature breathes, peace, joy, innocence and life."

"Through the gloomy clouds break / Blue sky, sunshine, / On the heights and in the valley / Sing the lark and the nightingale God, I thank you that I live / Not forever in this world / Strengthen me that my soul rise / Upward toward your firmament."

"Alas, the blue arc of heaven / Is covered with gloomy clouds, / And the bright radiance of the sun / Is completely hidden See the terrifying force of the tempest / Bows the oaks so that is groans, / And the rose on the beautiful pasture / has ben bent down by the rain."

"If a painting has a soulful effect on the viewer, if it puts his mind into a soulful mood, then it has fulfilled the first requirement of a work of art. However bad it might be in drawing, color, handling, etc."

"Jesus Christ, nailed to the Cross [in his painting 'Cross in the Mountains (Tetschen Altar)',] is turned to the setting sun, here the image of the totally enlivening Father. With Christ dies the wisdom of the old world, the time when God the Father wandered directly on Earth. This sun set and the world was no longer able to apprehend the departed light. The evening glow shining from the pure noble metal of the golden crucified Christ is reflected in gentle glow to the earth. The Cross stands raised on a rock, unshakably firm, as our faith in Jesus Christ. Around the Cross stand the evergreens, enduring through all seasons, as does the belief of Man in Him, the crucified."

"Why, the question is often asked of me"

"The picture [Friedrich's painting: 'The Cross on the Baltic Sea' ] for your friend has already been sketched out, but there is no church in it, not a single tree or plant, not a blade of grass. On a bare and rocky seashore there stands, high up, the cross - for those who see it that way, a consolation, and for those who don't see it that way, just a cross."

"The divine is everywhere, even in a grain of sand; there I represented it in the reeds."

"I must stay alone and know that I am alone to contemplate and feel nature in full; I have to surrender myself to what encircles me, I have to merge with my clouds and rocks in order to be what I am. Solitude is indispensible for my dialogue with nature."

"Sometimes I try to think and nothing comes out of it; but it happens that I doze off and suddenly feel as though someone is rousing me. I am startled, open my eyes, and what my mind was looking for stands before me like an apparition - at once I seize my pencil to draw; the main thing has been done."

"..the great white blanket of snow [in one of his painting of Cemetery / Church in the Snow, mid-1820's].. ..the essence of the utmost purity, beneath which nature prepares herself for a new life.."

"Just as the reverent man prays without uttering words, and the Lord hears him, the sensitive painter paints, and the sensitive man understands and recognizes him, but even the more obtuse carry away something from his work."

"Man should not be held as an absolute standard for mankind, but the Godly, the infinite is his goal.. .Follow without hesitation the voice of your inner self; for it is the Godly in us and leads us not to astray.."

"The artist should not only paint what he sees before him, but also what he sees in himself. If, however, he sees nothing within him, then he should also refrain from painting what 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."

"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. A picture must not be invented but felt. Observe the form exactly, both the smallest and the large and do not separate the small from the large, but rather the trivial from the important."

"You should keep sacred every impuls of your mind; you should keep sacred every pious sentiment; because that is art in us. In an inspired hour she will appear in a clear form, and this form will be your picture."

"The pure, frank sentiments we hold in our hearts are the only truthful sources of art. A painting which does not take its inspiration from the heart is nothing more than futile juggling. All authentic art is conceived at a sacred moment and nourished in a blessed hour; an inner impulse creates it, often without the artist being aware of it."

"You call me a misanthrope because I avoid society. You err; I love society. Yet in order not to hate people, I must avoid their company."

"The artist's feeling is his law. Genuine feeling can never be contrary to nature; it is always in harmony with her. But another person's feelings should never be imposed on us as law. Spiritual affinity leads to similarity in work, but such affinity is something entirely different from mimicry. Whatever people may say of Y's paintings and how they often resemble Z's, yet they proceed from Y and are his sole property."

"Every truthful work of art must express a definite feeling, must move the spirit of the spectator either to joy or to sadness.. ..rather than try to unite all sensations, as thought mixed together with a twirling stick."

"What pleases us about the older paintings is above all their pious simplicity.. .However, we do not want to become simple as many have done, but rather become pious and imitate their virtues."

"I am far from wanting to resist the demands of my time, except when they are purely a matter of fashion. Instead, I continue to hope that time itself will destroy its own offspring, perhaps quite soon. But I am not so weak as to submit to the demands of the age when they go against my convictions. I spin a cocoon around myself; let others do the same. I shall leave it up to time to show what will come of it: a brilliant butterfly or a maggot."

"People say of such-and-such a painter that he has great command of his brush. Might it not be more correct to say that he is controlled of his brush? Merely for the satisfaction of his vanity, to paint brilliantly and display skill with the brush, he has sacrificed the nobler considerations of naturalness and truth – and thus achieved sorry fame as a brilliant technician."

"In this big moonlit landscape by the painter N.N., that deservedly celebrated technician, one sees more than one would wish, or that can actually be seen by moonlight. But what the perceptive, sensitive soul looks for in every painting, and rightly expects to find, is missing.. ..If that painter could find it in himself to paint fewer, but more deeply-felt, pictures instead of so many clever ones, his contemporaries and posterity would be more grateful to him."

"To many it is incomprehensible that art has to emerge from a person's inner being, 'that it has to do with one's morality, one's religion..'. But so it does. You should trade only in what you recognize to be true and beautiful, noble and good in your soul."

"People are always talking about 'incidentals'; but nothing is incidental in a picture, everything is indispensable to the whole effect, so nothing must be neglected. If a man can give value to the main part of his composition only by negligent treatment of the subordinate portions, his work is in a bad way. Everything must and can be carefully executed, without the different parts obtruding themselves on the eye. The proper subordination of the parts to the whole is not achieved by neglecting incidental features, but by correct grouping and by the distribution of light and shadow."

"It is doubtful whether the artist [unknown] altogether knew what he depicted here in this panel, and even more doubtful whether he could have expressed it in words. That which we praise here as well thought-out and cleverly arranged may, in fact, have been achieved by him unconsciously; for the artist was transformed by pure harmoniousness while executing this picture, and his feeling become his law. Only his disposition, his spiritual exaltation, could have brought forth such a fruit as this picture. Just as the pious man prays without speaking a word and the Almighty hearkens unto him, so the artist with true feeling paints and the sensitive man understands and recognizes it; while even the less sensitive gain some inkling of it."

"When a landscape is enveloped in mist it appears larger, more majestic, and increases the power of imagination.. .The eye and the imagination are on the whole more attracted."

"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."

"We urge the artist [Friedrich] to undertake serious study of antiquity and of nature as the ancients saw it."

"Here is coldness, impetuousness, dying, and despair."

"The works of Friedrich differ greatly from those of other landscape painters in their motifs. The air - even though he paints it masterfully - takes up more than half of the space in most of his compositions. Middle- and background are often missing because his motifs don't require them. He likes to paint unfathomable plains. He is faithful to nature even in the smallest details and he has mastered his technique - in his oil paintings and sepia drawings - to perfection. His landscapes contain a melancholy, mysteriously religious meaning. They affect the heart more than the eye."

"..I must not neglect to report to you the three friends I have won. The firsts the composer Carl Maria [von] Weber.. ... the second, the landscape painter Friedrich.. ..His paintings are actually lyrical poems.. ..I described for him lately, when we conversed of suchlike moods, the rare beauty of the moonlight that we [Hjort and Olivia Rasbech] observed as we wandered past the old limestone kiln, and my words fell so fortuitously that he burst out: Das mach ich Ihnen! [I shall paint that for you!].. ..prepared to take my leave he said: Give me the lady's address the next time we meet, and you shall find that upon your return from this voyage, the painting shall adorn her wall.. .. At the very next meeting between us, he demanded to be shown your portrait, which I naturally had in my possession, and he already had a first draft of the painting, which he showed to me with these very words: Nicht wahr? So war's? [That’s how it was, wasn't it?].. .I hesitated for a few weeks, but then I had to yield, upon which he solemnly declared: Ein festes Auge, das ist jafast wie ein Knäblein! Mag's einen herrlichen Charakter geben, wenn sie ins Leben tritt [A firm gaze; it is almost like that of a small boy! May it give her a delightful character when she steps out into life]."

"On the day he is painting air he may not be spoken to!"

"Whenever a storm with thunder and lightning moved over the sea, he would hurry out to the top of the cliffs as if he had a pact of friendship with the forces of nature, or even went on into the oakwood where the lightning had split a tall tree from top to bottom, which led him to murmur: 'How great, how mighty, how wonderful!'"

"..it was a picture of the kind that only an aeronaut can see, when he rises in his airship above the height of the clouds.. ..up to where.. ..the untroubled blue of the heaven is visible between the wisps of mist."

"It is magnificent to stand in infinite solitude on the seashore, beneath an overcast sky, and to look on an endless waste of water. Part of this feeling is the fact that one has made life's way there and yet must go back, that one would like to cross over but cannot, that one sees nothing to support life and yet senses the voice of life in the sigh of the waves, the murmur of the air, the passing clouds and the lonely cry of birds."

"Part of this feeling is a claim made by the heart and a rejection, if I may call it that, on the part of nature. But this is impossible in front of the picture, and what I should have found in the picture itself I found only between myself and the picture, namely a claim my heart made on the picture and the picture's rejection of me; and so I myself became the monk, and the picture became the dune, but the sea itself, on which I should have looked out with longing — the sea was absent."

"There can be nothing sadder or more desolate in the world than this place: the only spark of life in the broad domain of death, the lonely center in the lonely circle. The picture, with its two or three mysterious subjects (monk, dune, sea), lies there like an apocalypse.."

"it is as if one's eyelids had been cut off. Yet the painter has undoubtedly broken an entirely new path in the field of his art, and I am convinced that with his spirit, a square mile of the sand of Mark Brandenburg could be represented with a barberry bush, on which a lone crow might sit preening itself"

"Why, if the artist painted this landscape using its own chalk and its own water, I believe he would make the foxes and wolves weep: the most powerful praise, without doubt, that could be given to this kind of landscape painting."

"Yet my own impressions of this wonderful painting are too confused, and so, before I venture to express them in full, I have decided to learn what I can from the remarks of the couples who pass before it [at the exhibition] from morning till evening. I listened to the remarks of the many viewers around me and now relay them as comments on this painting, which is surely a stage set before which a scene must be acted, for it allows no repose:"

"GOVERNESS: Why did he paint nothing but dull skies? How lovely it would be if he had painted some men gathering amber on the seashore."

"FIRST YOUNG LADY: Oh yes, I'd like to fish for a nice amber necklace for myself."

"GENTLEMAN: Magnificent, magnificent! This is the only artist who expresses a soul in his landscapes. There is a great individuality in this picture, high truth, solitude, the overcast, melancholy sky — he knows what he’s painting all right."

"SECOND GENTLEMAN: And he also paints what he knows, and feels it, and thinks it, and paints it."

"SECOND GENTLEMAN: [the monk].. ..he does predict the weather, he is the one within the wholeness, the lonely center in the lonely circle."

"FIRST GENTLEMAN: Yes, he is the soul, the heart, the whole picture's reflection in itself and on itself."