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foothold in the grass as a symbol of the transience of life and looks into the abyss opening before him—the abyss of death. On the right, the man with crossed arms leans against the trunk of a dying tree and looks far out to the sea. The two tiny sailboats stand as symbols for the soul which opens to eternal life and correspond to the figures of the two men. On the left, the woman in a red dress (who is usually identified as
Friedrich's wife Caroline) sits beside an almost dried-up shrub: only the twigs around her face are leafing out. With her right hand she points either at the abyss or at the flowers bordering it. In contrast to the men, who gaze either at the abyss or into the distance, she communicates with the other figures—whether she feels threatened by the abyss or compelled by the natural beauty is unclear.
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Two trees, whose leaves cover the upper third of the painting, frame the scenery. Two men and a woman in town clothes gaze in wonder at the view. The thin figure in the middle is usually interpreted as Caspar David
Friedrich himself. His hat lies beside him as a sign of humility. He seeks for a
184:: faith, hope and love. The art historian Helmut Börsch-Supan sees in the picture a representation of Friedrich's relation to death, and the threat to life by death: "clear as almost never before, but at the same time also in an unusually serene mood".
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The colors of the figure's clothes are also symbolic. The middle figure is blue, the color of faith; the left figure is red, that of love; and the right figure is green, that of hope. Thus they can be interpreted as embodiments of the three
Christian
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In
January 1818, Caspar David Friedrich married Christiane Caroline Bommer, who was about 20 years his junior. On their honeymoon in July and August 1818, they visited relatives in
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outcrops in particular were a model for the painting; however, these did not exist at the time of the painting's creation, but appeared later because of
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with
Friedrich's brother Christian. The painting appears as a celebration of the couple's union.
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263:"deutlich wie kaum zuvor, zugleich aber auch in einer selten heiteren Stimmung"
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Am Ende bleibt nur die Kunst - Die
Wissower Klinken und Caspar David Friedrich
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90.5 cm × 71 cm (35.6 in × 27.9 in)
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Two Men
Contemplating the Moon; Man and Woman Contemplating the Moon
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138:. From there, the couple undertook an excursion to the island of
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4. erweiterte und überarbeitete
Auflage, Prestel, Munich 1987,
294:(2nd ed.). London/New York: Prestel. ISBN 978-3-7913-8357-6.
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A later variation on the theme; watercolor, 1824, 25 × 32 cm
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The painting depicts the view from the chalk cliffs of the
280:(4th enlarged and revised edition). Munich: Prestel.
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83:Kunst Museum Winterthur – Reinhart am Stadtgarten,
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343:Kreidefelsen auf Rügen (Caspar David Friedrich)
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313:Caspar David Friedrich – Der Maler der Stille
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714:Boundaries of Time: Caspar David Friedrich
628:Ruins of Eldena Abbey in the Riesengebirge
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16:Oil painting by Caspar David Friedrich
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671:The Woman with the Spider's Web
612:The Temple of Juno in Agrigento
436:Mountain Landscape with Rainbow
679:Woman with a Raven at an Abyss
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484:Wanderer above the Sea of Fog
444:Morning on the Riesengebirge
452:The Tombs of the Old Heroes
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604:Ships in Harbour, Evening
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297:Schmied, Wieland (1992).
290:Grave, Johannes (2017) .
276:Börsch-Supan, H. (1987).
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428:The Abbey in the Oakwood
765:Oil on canvas paintings
755:Paintings in Winterthur
687:Boy Sleeping on a Grave
244:Caspar David Friedrich.
636:Neubrandenburg Burning
508:The Port of Greifswald
412:Cross in the Mountains
380:Caspar David Friedrich
311:Wolf, Norbert (2003).
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278:Caspar David Friedrich
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120:Caspar David Friedrich
108:Kreidefelsen auf Rügen
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48:Caspar David Friedrich
29:Kreidefelsen auf Rügen
709:(1811/1819 paintings)
492:Chalk Cliffs on Rügen
242:Helmut Börsch-Supan:
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94:Chalk Cliffs on Rügen
22:Chalk Cliffs on Rügen
500:Seaside by Moonlight
345:at Wikimedia Commons
620:The Great Enclosure
548:Moonrise by the Sea
420:The Monk by the Sea
301:. Cologne: DuMont.
224:of 26 February 2005
182:theological virtues
652:The Stages of Life
468:Two Men by the Sea
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596:Cabin in the Snow
564:Woman at a Window
556:The Tree of Crows
532:River Bank in Fog
341:Media related to
218:, article in Die
114:of circa 1818 by
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315:. Cologne:
213:Uta Baier:
146:Description
126:Development
739:Categories
476:The Gazebo
271:References
136:Greifswald
85:Winterthur
72:Dimensions
690:(c. 1803)
682:(c. 1803)
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583:(1823–24)
463:(c. 1816)
447:(1810–11)
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396:Paintings
100:‹See Tfd›
319:Verlag.
188:See also
110:) is an
80:Location
27:German:
698:Related
524:Evening
519:(1820s)
317:Taschen
254:, p 118
162:erosion
118:artist
674:(1803)
663:Prints
655:(1835)
644:Sunset
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104:German
62:Medium
44:Artist
200:Notes
140:Rügen
321:ISBN
303:ISBN
282:ISBN
248:ISBN
221:Welt
134:and
57:1818
54:Year
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
