Caspar David Friedrich 'After The Storm, Detail', Germany, 1817, Reproduction 200gsm A3 Vintage Classic Art Poster
An intriguing collection of classic German Romanticism by Caspar David Friedrich, faithfully reproduced and printed by World of Art on quality 200gsm-thick four-star Green Star eco-friendly paper with a soft-satin low-sheen finish and high quality inks to retain colour vibrancy for years to come. Green star system approved paper is a universally recognised eco-responsibility paper based on the origin of the fibre and the manufacturing process. All our posters are standard A3 size and look beautiful with or without frames but if you're thinking of framing then a standard A3 frame will fit perfectly. All posters come with a thin white border.
Please note before ordering all our posters are reproduction posters made to order
Standard A3 Size
16.53" x 11.69"
42cm x 29.7cm
420mm x 297mm
Thank you for ordering from us
Your custom is appreciated
Caspar David Friedrich, 1774 to 1840, was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension". Friedrich's work brought him renown early in his career, and contemporaries such as the French sculptor David d'Angers who spoke of him as a man who had discovered "the tragedy of landscape" Nevertheless, his work fell from favour during his later years, and he died in obscurity, and in the words of the art historian Philip Miller, "half mad". As Germany moved towards modernisation in the late 19th century, a new sense of urgency characterised its art, and Friedrich's contemplative depictions of stillness came to be seen as the products of a bygone age. The early 20th century brought a renewed appreciation of his work, beginning in 1906 with an exhibition of thirty-two of his paintings and sculptures in Berlin. By the 1920s his paintings had been discovered by the Expressionists, and in the 1930s and early 1940s Surrealists and Existentialists frequently drew ideas from his work. The rise of Nazism in the early 1930s again saw a resurgence in Friedrich's popularity, but this was followed by a sharp decline as his paintings were, by association with the Nazi movement, misinterpreted as having a nationalistic aspect. It was not until the late 1970s that Friedrich regained his reputation as an icon of the German Romantic movement and a painter of international importance