"A painting must stand as a painting, made by human hand," wrote Caspar David Friedrich, "not seek to disguise itself as Nature." One of his generation's most popular painters, Friedrich imagined landscapes of powerful beauty and spirituality from within the confines of his studios. This breathtaking monograph, filled with glorious reproductions and details of his paintings, argues for Friedrich's reputation as a sublime artist and interpreter of nature. In his thoughtful and well-researched commentary, author Johannes Grave explores Friedrich's unique approach to landscape painting as well as his revolutionary thoughts about how these paintings should be received by their viewers. Looking closely at pieces such as "Monk by the Sea," "The Abbey in the Oakwood," and the "Tetschen Altar," Graves shows how Friedrich developed an innovative approach to landscape painting, one that communicated a new sense of space and time, and which draws the viewer into a unique aesthetic experience. Readable, insightful, and copiously illustrated in a deluxe volume, this compelling new perspective sheds crucial light on Friedrich's celebrated body of work.
具體描述
讀後感
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用戶評價
總是一再地，雖然我們認識愛的風景，/ 認識教堂小墓場刻著它哀悼的名姓，/ 還有山榖盡頭沉默可怕的峽榖；/ 我們總是一再地兩個人走齣去/ 走到古老的樹下，我們總是一再地/ 仰對著天空，臥在花叢裏。 (裏爾剋，1914)
评分總是一再地，雖然我們認識愛的風景，/ 認識教堂小墓場刻著它哀悼的名姓，/ 還有山榖盡頭沉默可怕的峽榖；/ 我們總是一再地兩個人走齣去/ 走到古老的樹下，我們總是一再地/ 仰對著天空，臥在花叢裏。 (裏爾剋，1914)
评分總是一再地，雖然我們認識愛的風景，/ 認識教堂小墓場刻著它哀悼的名姓，/ 還有山榖盡頭沉默可怕的峽榖；/ 我們總是一再地兩個人走齣去/ 走到古老的樹下，我們總是一再地/ 仰對著天空，臥在花叢裏。 (裏爾剋，1914)
评分總是一再地，雖然我們認識愛的風景，/ 認識教堂小墓場刻著它哀悼的名姓，/ 還有山榖盡頭沉默可怕的峽榖；/ 我們總是一再地兩個人走齣去/ 走到古老的樹下，我們總是一再地/ 仰對著天空，臥在花叢裏。 (裏爾剋，1914)
评分總是一再地，雖然我們認識愛的風景，/ 認識教堂小墓場刻著它哀悼的名姓，/ 還有山榖盡頭沉默可怕的峽榖；/ 我們總是一再地兩個人走齣去/ 走到古老的樹下，我們總是一再地/ 仰對著天空，臥在花叢裏。 (裏爾剋，1914)
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