Frases de Caspar David Friedrich

Caspar David Friedrich Foto
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Caspar David Friedrich

Fecha de nacimiento: 5. Septiembre 1774
Fecha de muerte: 7. Mayo 1840

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Caspar David Friedrich fue un pintor paisajista del romanticismo alemán del siglo XIX, generalmente considerado el artista alemán más importante de su generación. Es conocido por sus paisajes alegóricos de su periodo medio que muestra figuras contemplativas opuestas a cielos nocturnos, nieblas matinales, árboles estériles o ruinas góticas. Su interés primario como artista era la reflexión de la naturaleza, su trabajo a menudo simbólico y anti clásico intenta dar una respuesta subjetiva y emocional al mundo natural. Las pinturas de Friedrich establecen la presencia humana en una perspectiva disminuida en contraste a extensos paisajes, reduciendo las proporciones a una escala que, según el historiador de arte Christopher John Murray «dirige la mirada del espectador hacia su dimensión metafísica».

Friedrich maduró en una época en la que crecía la desilusión en toda la clase media europea dando lugar a una nueva apreciación de la espiritualidad. Este cambio en los ideales se expresa a menudo a través de una revaluación de la naturaleza, en artistas como Friedrich, Joseph Mallord William Turner y John Constable que trataron de representar la naturaleza como una «creación divina, que debe ajustarse contra el artificio de la civilización humana».

Los trabajos que Friedrich realizó le trajeron renombre muy temprano en su carrera, y contemporáneos suyos como el escultor francés David d'Angers lo describían como el hombre que había descubierto «la tragedia del paisaje». Sin embargo, su obra cayó en desgracia durante sus últimos años y él murió en la oscuridad; en palabras del historiador del arte Philip Miller «medio loco». Mientras Alemania migraba hacia la modernización a finales del siglo XIX, un nuevo sentido de urgencia caracterizó el arte, y las descripciones contemplativas y de quietud de Friedrich llegaron a ser vistas como el producto de una época pasada. El Siglo XX trajo consigo una renovada apreciación de su obra, a partir de 1906 con una exposición de treinta y dos de sus pinturas en Berlín. Para la década de 1920 sus pinturas habían sido descubiertas por los expresionistas. En la década de 1930 y principios de 1940 los surrealistas y existencialistas tomaron con frecuencia ideas prestadas de su trabajo. El ascenso del nazismo en 1930 trajo consigo el resurgimiento de la popularidad de Friedrich, pero este decayó junto con el régimen debido a la errónea asociación de su nacionalismo con esta ideología. No fue sino a finales de 1970 cuando Friedrich recuperó su reputación como icono del romanticismo alemán y pintor de renombre mundial.

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Frases Caspar David Friedrich

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„The pure, frank sentiments we hold in our hearts are the only truthful sources of art.“

— Caspar David Friedrich
Context: 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. Quote in 'Culture: Caspar D. Friedrich and the Wasteland', by Gjermund E. Jansen in Bits of News (3 March 2005) http://www.bitsofnews.com/content/view/154/42/ Variant translation: The heart is the only true source of art, the language of a pure, child-like soul. Any creation not sprung from this origin can only be artifice. Every true work of art is conceived in a hallowed hour and born in a happy one, from an impulse in the artist's heart, often without his knowledge. (as quoted in the article 'Caspar David Friedrich's Medieval Burials', Karl Whittington - http://www.19thc-artworldwide.org/spring12/whittington-on-caspar-david-friedrichs-medieval-burials)

„Close your bodily eye, so that you may see your picture first with the spiritual eye.“

— Caspar David Friedrich
Context: 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. Variant translation: Close your bodily eye, that you may see your picture first with the eye of the spirit. Then bring to light what you have seen in the darkness, that its effect may work back, from without to within. Quoted in The Romantic Imagination: Literature and Art in England and Germany (1996) by Fredrick Berwick and Jürgn Klein, and in "Culture: Caspar D. Friedrich and the Wasteland" by Gjermund E. Jansen in Bits of News (3 March 2005) http://www.bitsofnews.com/content/view/154/42/

„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.“

— Caspar David Friedrich
Context: 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. Quote from "The Awe-Struck Witness" in TIME magazine (28 October 1974) http://www.time.com/time/magazine/article/0,9171,908926-1,00.html and in "On the Brink: The Artist and the Seas" by Eldon N. Van Liere in Poetics of the Elements in the Human Condition: The Sea (1985) ed. Anna-Teresa Tymieniecka Variant translations: The artist should not only paint what he sees before him, but also what he sees within him. If, however, he sees nothing within him, then he should also omit to paint that which he sees before him. As quoted in German Romantic Painting (1994) by William Vaughan, p. 68

„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.“

— Caspar David Friedrich
Context: 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. Variant translation: Close your bodily eye, that you may see your picture first with the eye of the spirit. Then bring to light what you have seen in the darkness, that its effect may work back, from without to within. Quoted in The Romantic Imagination: Literature and Art in England and Germany (1996) by Fredrick Berwick and Jürgn Klein, and in "Culture: Caspar D. Friedrich and the Wasteland" by Gjermund E. Jansen in Bits of News (3 March 2005) http://www.bitsofnews.com/content/view/154/42/

„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.“

— Caspar David Friedrich
Context: 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. Quote in 'Culture: Caspar D. Friedrich and the Wasteland', by Gjermund E. Jansen in Bits of News (3 March 2005) http://www.bitsofnews.com/content/view/154/42/ Variant translation: The heart is the only true source of art, the language of a pure, child-like soul. Any creation not sprung from this origin can only be artifice. Every true work of art is conceived in a hallowed hour and born in a happy one, from an impulse in the artist's heart, often without his knowledge. (as quoted in the article 'Caspar David Friedrich's Medieval Burials', Karl Whittington - http://www.19thc-artworldwide.org/spring12/whittington-on-caspar-david-friedrichs-medieval-burials)

„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.“

— Caspar David Friedrich
Context: 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. Quote of Friedrich, 1821; as cited in Authenticity and Fiction in the Russian Literary Journey, 1790-1840 (2000) by Andreas Schönle, p. 108, from memoirs of Vasily Zhukovsky <!-- "Pis'ma k velikoi kniagine" p. 391--> Variant translation: I have to stay alone in order to fully contemplate and feel nature. This answer of Friedrich is recorded by Vasily Zhukovsky who asked the painter in 1821 to travel together to Switzerland

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„The divine is everywhere, even in a grain of sand“

— Caspar David Friedrich
Context: The divine is everywhere, even in a grain of sand; there I represented it in the reeds. Quote of Friedrich on his painting Swans in the Rushes (c. 1820), as cited in "Absent Presences in Liminal Places: Murnau's Nosferatu and the Otherworld of Stoker's Dracula" by Saviour Catania in Literature Film Quarterly (2004) http://findarticles.com/p/articles/mi_qa3768/is_200401/ai_n9377557/print

„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.“

— Caspar David Friedrich
some poetry lines of Friedrich, c. 1807-09; as cited by C. D. Eberlein in C. D. Friedrich Bekenntnisse, p 57; as quoted and translated by Linda Siegel in Caspar David Friedrich and the Age of German Romanticism, Boston Branden Press Publishers, 1978, p. 52

„Why, the question is often asked of me
Do you choose as subjects for painting
So often death, perishing and the grave?
In order to one day live eternally
One must often submit oneself to death.“

— Caspar David Friedrich
(in original language - German: Warum, die Frag' ist oft zu mir ergangen / Wählst du zum Gegenstand der Malerei / So oft den Tod, Vergänglichkeit und Grab? / Um ewig einst zu leben / Muss man sich oft dem Tod ergeben.) Quote c. 1812; from Caspar David Friedrich, William Vaughn; London: Tate Gallery, 1972, p. 16–17

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„.. 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..“

— Caspar David Friedrich
Quote of Friedrich, mid-1820's; as cited by Sigrid Hinz, Caspar David Friedrich in Briefen und Bekenntnisse, p. 133; as cited in Religious Symbolism in Caspar David Friedrich, by Colin J. Bailey https://www.escholar.manchester.ac.uk/api/datastream?publicationPid=uk-ac-man-scw:1m2225&datastreamId=POST-PEER-REVIEW-PUBLISHERS-DOCUMENT.PDF, paper; Oct. 1988 - Edinburgh College of Art, p. 17

„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.“

— Caspar David Friedrich
Quote from Friedrich's Diary entry, written Aug. 1803 at Loschwitz; as cited in Religious Symbolism in Caspar David Friedrich, by Colin J. Bailey https://www.escholar.manchester.ac.uk/api/datastream?publicationPid=uk-ac-man-scw:1m2225&datastreamId=POST-PEER-REVIEW-PUBLISHERS-DOCUMENT.PDF, paper; Oct. 1988 - Edinburgh College of Art, pp. 11-12 Friedrich is describing here his first composition of the painting 'Spring', 1803 (a later version he painted in 1808, viewed and described then by Gotthilf Heinrich von Schubert)

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