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080065 SE Caspar David Friedrich and Romantic Landscape Painting (2021W)

Continuous assessment of course work
Fr 03.12. 10:45-12:15 Digital


Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).


max. 20 participants
Language: German


Classes (iCal) - next class is marked with N

Die Lehrveranstaltung wird in digitalem Format (Collaborate in Moodle) stattfinden. Die Sprechstunde wird ebenfalls online abgehalten (jeweils als zoom-Meetings, Freitag, 9-10 Uhr, gegebenenfalls in dringenden Fällen auch zu anderen Terminen).

Friday 01.10. 10:45 - 12:15 Digital
Friday 08.10. 10:45 - 12:15 Digital
Friday 15.10. 10:45 - 12:15 Digital
Friday 22.10. 10:45 - 12:15 Digital
Friday 29.10. 10:45 - 12:15 Digital
Friday 05.11. 10:45 - 12:15 Digital
Friday 19.11. 10:45 - 12:15 Digital
Friday 10.12. 10:45 - 12:15 Digital
Friday 17.12. 10:45 - 12:15 Digital
Friday 07.01. 10:45 - 12:15 Digital
Friday 14.01. 10:45 - 12:15 Digital
Friday 21.01. 10:45 - 12:15 Digital
Friday 28.01. 10:45 - 12:15 Digital


Aims, contents and method of the course

Caspar David Friedrich (1774-1840) is considered one of the most enigmatic personalities in German art history. His way of depicting landscape had a lasting influence on Romantic landscape art and its reception. On this basis, the course will ask what the formal and content-related principles of Romantic landscape painting in Europe are. It becomes apparent that precise definitions as well as precise distinctions to late classicism, Biedermeier and early realism are quite difficult. Rather, the spheres of influence of individual outstanding artistic personalities dominate, and it must be determined from case to case where the respective "romantic" lies in the capture of the landscape. A close look at and analysis of outstanding and lesser-known works makes it possible to trace cross-relationships, track down lines of tradition and look at the different facets of Romantic landscape art in the European dimension. It should also become clear that, within the framework of Western art, especially from 1800 onwards, artistic confrontations with nature represent one of the central foundations for the development of comprehensive world views and imaginary worlds.

At the beginning of the course there are some introductory units, followed by presentations (always two per unit). All pictures of the introduction and the presentation topics are already available on moodle. The special literature on the individual topics will be discussed during office hours (Friday, 9-10 a.m.).

1 Caspar David Friedrich, so-called Tetschener Altar, Dresden, State Art Collections, 1808

2 Caspar David Friedrich, Winter Landscape with Church, Dortmund, Museum of Art and Cultural History, 1811

3 Caspar David Friedrich, Chalk Cliffs on Rügen, Winterthur, Kunst Museum Winterthur - Reinhart, c. 1818

4 Caspar David Friedrich, Two Men Contemplating the Moon, Dresden, State Art Collections, 1819-1820

5 Caspar David Friedrich, The Evening Star, Freies Deutsches Hochstift, Frankfurt Goethe Institute, c. 1830

6 Caspar David Friedrich, The Stages of Life, Leipzig, Museum of Fine Arts, c. 1834

7 Johan Christian Dahl, View of Pillnitz Palace, Essen, Museum Folkwang, 1823

8 Johan Christian Dahl, View over a Rocky Gorge with Waterfall, New York, The Metropolitan Museum, 1823

9 Carl Gustav Carus, The Three Stones in the Giant Mountains, Dresden, State Art Collections, 1826

10 Carl Gustav Carus, Memory of a Wooded Island of the Baltic Sea (Oaks by the Sea), Dresden, State Art Collections, 1835

11 Ernst Ferdinand Oehme, Procession in the Fog, Dresden, State Art Collections, 1828

12 Ernst Ferdinand Oehme, Mountain Chapel in Winter, private collection, 1842

13 Adrian Ludwig Richter, The Crossing at Schreckenstein, Dresden, State Art Collections, 1837

14 Johann Wilhelm Schirmer, The "Wetterhorn", Düsseldorf, Museum Kunstpalast, 1838

15 Johann Wilhelm Schirmer, Large oak on a forest aisle ("Parthie"), Düsseldorf, Museum Kunstpalast, c. 1849

16 Matthäus Loder, The Conversation at Irdning, private collection, 1822

17 Ludwig Ferdinand Schnorr von Carolsfeld, The broad pine tree next to the Brühl near Moedling, Vienna, Belvedere, 1838

18 Jakob Alt, Steyr in Upper Austria, Vienna, Albertina, 1844

19 John Constable, The Leaping Horse, London, The Royal Academy of Arts, 1825

20 Joseph Mallord William Turner, Lucerne by Moonlight, 1843, London, The Tate Gallery

Assessment and permitted materials

By registering for these terms and conditions, you agree that the automated plagiarism detection software Turnitin will check all written partial services submitted by you in moodle.

Minimum requirements and assessment criteria

See here also chapter "Assessment standard".
Minimum requirement:
- Attendance requirement. In case of absence due to illness or exceptional family circumstances, written proof must be submitted.
- For a positive completion of the course, all partial performances must be provided.
- Seminar paper: In order to ensure good scientific practice, the course instructor may invite students to a notation-relevant interview after submission of the paper, which must be completed positively.
Assessment standard:
- active participation in discussions 15%.
- Speech and presentation 30
- Consolidation in the form of a written paper 55%

Examination topics

See also the chapter "Assessment standard".
Learning and mastering basic art historical methods such as style analysis, history of visual types and iconology on the basis of one of the most essential periods of Central European art history of the modern era. In addition, the most important artistic personalities will be presented in detail in their biographical development.
In the course of the course, it is to be conveyed in which way the term "Romanticism", which is frequently used in research, can be meaningfully applied to the landscape art of the European countries.

Reading list

Martin Warnke, Politische Landschaft: zur Kunstgeschichte der Natur, München-Wien 1992

Eberhard Roters, Jenseits von Arkadien. Die romantische Landschaft, Cologne 1995

Joseph Leo Koerner, Caspar David Friedrich. Landschaft und Subjekt (Epochen der deutschen Kunst 3), Munich 1998

Norbert Schneider, Geschichte der Landschaftsmalerei: vom Spätmittelalter bis zur Romantik, Darmstadt 1999 (several editions)

Werner Telesko, Die deutsche Romantik in ihrer Bedeutung für die Frühgeschichte des Historismus – Untersuchungen zu den Wechselwirkungen zwischen Literatur und bildender Kunst im frühen 19. Jahrhundert, in: Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft 44 (1999), Nr. 2, pp. 71–90

Werner Hofmann, Caspar David Friedrich. Naturwirklichkeit und Kunstwahrheit, München 2000

Werner Busch, Caspar David Friedrich. Ästhetik und Religion, Munich 2003

Andreas Beyer (ed.), Klassizismus und Romantik (Geschichte der bildenden Kunst in Deutschland 6), Munich-Berlin-London-New York 2006, esp. pp. 351-437

Johannes Grave, Caspar David Friedrich. Glaubensbild und Bildkritik, Zürich 2011

Ludwig Trepl, Die Idee der Landschaft. Eine Kulturgeschichte von der Aufklärung bis zur Ökologiebewegung, Bielefeld 2012

Nina Arnstutz, Das Bild der Natur in der Romantik: Kunst als Philosophie und Wissenschaft (Schriften der Deutschen Gesellschaft für die Erforschung des 19. Jahrhunderts 4), Paderborn 2021

Association in the course directory

Last modified: Fr 08.10.2021 12:48