" Woman on the Beach of Rugen"
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Exceptionally gifted as an observer and interpreter of nature, Caspar David Friedrich used painting as a means of expressing his highly personal and emotional response to the natural world - a world he saw as reflecting a divine presence. For him, sunlight was no less than the light of God. His individualistic lifestyle - he spent long periods of time walking alone through forests and fields, often starting before sunrise - coupled with his keen observation, melancholic outlook and painterly skill in both composition and the precise use of colour, allowed him to create uniquely evocative landscapes. One of his greatest achievements as an artist was his ability to create emotionally-charged views which help to connect the viewer with the spirituality of nature. His depiction of various light forms, notably sunrise and moonlight was remarkable, as was his ability to convey the absolute stillness and solitude of the forest. The art historian Hermann Beenken once said that Friedrich painted winter scenes in which "no man has yet set his foot." Though based on studies of nature, most of his paintings were composed in his studio, where he relied on deep contemplation to conjure up images for his canvases. To dramatize his view-paintings, such as his series of figures contemplating the moon, he made frequent use of the Ruckenfigur- a person seen from behind, who is contemplating the view. Nearly all his pictures contained motifs and symbols, typically concerning life, death and the impermanence of man. His contribution to the history of art was the portrayal of landscape not simply as an object of beauty but as a romantic (romantische Stimmungslandschaft) and spiritual, if not mystical, experience. In so doing, he - along with JMW Turner - re-positioned landscape painting as a major independent genre within Western art.
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