The Solitary Figure

THE TIMELESS ALLURE OF CASPAR DAVID FRIEDRICH

in the early 19th century, painters traditionally represented landscapes as mere backdrops for religious or mythological scenes. They were the curtain and not the show. However, with the emergence of Caspar David Friedrich, a new era of landscape painting dawned, one that would forever alter the way we perceive and interact with nature and the very notion of “self” represented in the world. Friedrich’s novel approach centered on making nature the primary subject, rather than a mere accompaniment to human drama. This radical shift in focus stirred controversy within the establishment but also set in motion a style of pictorial rendering that resonated so deeply with the cultural and philosophical currents of his time that its effects can still be felt today.

Friedrich’s emphasis on nature as the core subject was a bold departure from the conventional norms of landscape painting. By doing so, he was, in effect, declaring the sacredness of the earth itself, imbuing the natural world with a sense of spirituality and mystique. This approach was deeply rooted in the Romantic movement’s emphasis on the sublime, the beauty and terror that lies at the heart of nature.

Friedrich’s emphasis on nature as the primary subject was also a response to the rapid industrialization transforming his native Dresden. During his lifetime, the city underwent significant changes, as the Industrial Revolution brought new factories, machines, and technologies that altered the urban landscape. The once pristine rivers and forests surrounding Dresden became increasingly polluted, and the air grew thick with smoke and soot. Friedrich’s paintings can be seen as a lament for the loss of a simpler, more harmonious relationship between humanity and nature.

In Dresden, Friedrich witnessed firsthand the impact of industrialization on the environment and the human experience. The city’s rapid growth and urbanization led to the displacement of traditional crafts and ways of life, as well as the degradation of the natural world. Friedrich’s paintings, with their emphasis on the sublime and the spiritual essence of nature, offered a powerful counterpoint to the industrialization and urbanization sweeping across Europe. By focusing on the beauty and mystery of the natural world, Friedrich’s vistas provided a respite from the chaos and dislocation of modern life.

Friedrich’s own experiences in Dresden also influenced his artistic vision. The city’s unique blend of Gothic and Baroque architecture, set amidst the rolling hills and forests of Saxony, inspired many of his landscapes. The Elbe River, which ran through the heart of Dresden, became a recurring motif in his work, symbolizing the connection between nature and humanity. As the Industrial Revolution transformed the city, Friedrich’s paintings increasingly emphasized the fragility and beauty of the natural world, serving as a poignant reminder of what was being lost in the midst of progress.

Friedrich’s use of the Rückenfigur, a solitary figure seen from behind, added another layer of depth to his paintings. This motif, which has become ubiquitous in modern photography, was a radical innovation in Friedrich’s time. By turning the figure’s back to the viewer, Friedrich emphasized the individual’s solitary journey into the unknown, inviting the viewer to project their own emotions and experiences onto the scene.

One of Friedrich’s most iconic paintings, “Wanderer Above the Sea of Fog” (1818), illustrates the Rückenfigur in a quintessential way. A lone figure, perched atop a rocky outcropping, gazes out into a sea of fog, symbolizing the human quest for meaning and transcendence. The wanderer’s back is turned to the viewer, emphasizing the individual’s solitary journey and inviting the viewer to imagine the thoughts and sensation the figure must be experiencing whether awe, reverence or something more triumphant.

Another seminal work, “Monk by the Sea” (18081810), exemplifies the Rückenfigur approach while also nearly verging into the world of abstraction. Were it not for the small figure of a lonely monk the painting could be seen as resembling a Rothko. The monk stands at the edge of a vast, misty expanse, with an almighty force of some great power looming above him in the heavens. The monk’s gaze is inward, whether from humility, fear, reverence, or despair is for the viewer to decide. One thing is clear, our collective gaze is drawn outward, into the infinite vastness of the sea and sky.

Friedrich’s paintings, with their emphasis on the sublime and the spiritual essence of nature, speak to the current era’s anxieties and concerns. As countries, industries and populations grapple with the challenges of climate change, environmental degradation, and the erosion of a proper connection to the natural world, Friedrich’s works offer a compelling reminder of the importance of preserving a healthy relationship with the earth. The Romantic movement’s emphasis on the beauty and the potential terror of nature resonates deeply with these times, as we confront the challenges and seek alternatives to live in harmony with the environment.

Friedrich’s art offers a powerful lens through which to examine these issues. With several major retrospectives and exhibits planned for the coming years, including the first comprehensive retrospective of his work in the United States at the Metropolitan Museum of Art in New York, Friedrich’s work is poised to reach a new generation of audiences. These exhibitions will provide a timely opportunity to reevaluate the artist’s contribution to the Romantic movement and his enduring influence on contemporary art and culture.