1800 -1840 · Valley, field and interior horizon

Giant Massif, plowed field, Greifswald Bay and Elbe fog show Friedrich transforming ordinary motifs into thresholds of contemplation.

Caspar David Friedrich's landscape is born from long walks, precise drawings and extremely constructed studio work. It reveals trees, clouds, boats, rocks and architecture separately, then brings them together without being held by topographical unity. The Giant Mountains and the landscapes of Bohemia offer superimposed planes where the mist measures the distance. A plowed field or hill near Dresden shows that the sublime can emerge from a worked land, without a spectacular summit. A plowed field or hill near Dresden shows that the sublime can emerge from a worked land, without a spectacular summit. A plowed field or hill near Dresden shows that the sublime can emerge from a worked land, without a spectacular summit. A plowed field or hill near Dresden shows that the sublime can emerge from a worked land, without a spectacular summit. A plowed field or hill near Dresden shows that the sublime can emerge from a worked land, without a spectacular summit. Greifswald Bay connects the artist to his native region of Pomerania and the Baltic horizon. The bay of Greifswald connects the artist to his native region of Pomerania and the Baltic horizon. The bay of Greifswald connects the artist to his native region of P Friedrich often uses tiny figures, paths or axial trees, but his characterless landscapes can also direct the gaze. They do not constitute a closed symbolic vocabulary; their power comes from open relationships between nature, memory, faith and finitude. The selection "Landscapes of Caspar David Friedrich" notably compares View of Schmiedebergerkamm and Landscape in the Giants massif. His reading favors light.

Friedrich constructs a landscape precise enough to be inhabited and open enough for the viewer to bring their own memory to it.