Caspar David Friedrich in his Studio

By Caspar David Friedrich in his studio of the painter Georg Friedrich Kersting titled three variants of an image that have arisen 1811-1819. Show all the romantic Caspar David Friedrich in his studio.

Berlin image

The "Berlin picture" version mentioned shows the painter leaning on a chair while he is looking at the picture, on which he works. A look at the picture is not possible as it is shown on the easel from the back. Friedrich looks lost in thought and in his right hand his brush in his left the range, a mahlstick and other brush. As Friedrich is known as a landscape painter, it is surprising that in his studio any reference to the outside world is missing. A window is completely darkened with wooden shutters, the other only the upper two thirds are open, so that only a piece of sky can be seen. The studio is emphasized sparse. Only on the wall hang two more pallets, a T-square and a triangle mark. Caspar David Friedrich sought seclusion, so he could pursue his work undisturbed. Kersting shows the painting as a process of contemplation and reflection. Here, the studio serves as a place of pure concentration. Not what Friedrich painting is important, but the attitude with which he creates his work. At the Berlin picture a chair leg covers the feet and the footwear. It will be seen no more door, whereby the space looks even completed. Most importantly, the rotation of the easel, because that the viewer does not see what Frederick is working. The image is probably already so far advanced, that the drawings could be cleared away and the painter controlled the overall impact critical. Anything that could distract is cleared away. The emptiness suggests meditation. The painter Karl von Kügelgen writes:

The doctor and natural scientist Carl Gustav Carus describes this process work as follows:

Frederick himself explained nothing and shut itself off. Spoke of his work in the studio and he wrote of the consecrated hour, when he did not want to be disturbed. Kügelgen wondered what the T-square should that since the only wall decorations hung on the wall and no one could understand how she came to honor. The reason was that ruler and triangle belong to sobriety this studio and working methods of Frederick, in which up some hid in mathematics.

Frederick Dresden studio was located in the suburb of Pirna. He also works up to the year 1820. Sepia plates from two of the years 1805/ 06 it is evident that went out the window of the studio here on the Elbe. The wooden shutters, Friedrich after 1806 and took them as he, after he was married and his first daughter was born in the larger apartment, a few doors down, with. In the new studio space, these shutters are visible on the Woman at the window of 1822.

Hamburger image

In the version of 1811, which is referred to as hamburger image, Friedrich sitting in front of the easel and paints, in which he has his arm resting on the mahlstick. In this case, it can be seen that he is working on a mountain landscape with a waterfall.

Mannheimer image

The version of 1819, which is now in the Kunsthalle in Mannheim, is a replica of the image in the Kunsthalle Hamburg with a different color mood and some details changed.

Georg Friedrich Kersting

Georg Friedrich Kersting belonged to the Dresdner Friends of Frederick, was from Mecklenburg and had studied from 1805 to 1808 at the Copenhagen Academy under the same teachers, before he settled in Dresden. Kersting accompanied Frederick in the summer of 1810 on a hike through the Giant Mountains. He is probably also her back turned to Frederick drawings and watercolors. Kersting in 1818 head of the painting department at the porcelain factory in Meissen, but kept in touch with Friedrich still for a while upright. Kersting has his portraits preferably applied as interior pictures and portrayed him surrounded by familiar things represented, who testified about him. None of his pictures was so sparse, as the portrait of his famous friend Friedrich.