david caspar friedrich giclee canvas prints
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The Wanderer above the Sea of Fog
He was one of the first artists to portray winter landscapes in which the land is rendered as stark and dead. Friedrich’s winter scenes are solemn and still—according to the art historian Hermann Beenken, Friedrich painted winter scenes in which “no man has yet set his foot. The theme of nearly all the older winter pictures had been less winter itself than life in winter. In the 16th and 17th centuries, it was thought impossible to leave out such motifs as the crowd of skaters, the wanderer. It was Friedrich who first felt the wholly detached and distinctive features of a natural life. Instead of many tones, he sought the one; and so, in his landscape, he subordinated the composite chord into one single basic note”. 
At the turn of the 20th century, Friedrich was rediscovered by the Norwegian art historian Andreas Aubert (1851–1913), whose writing initiated modern Friedrich scholarship,  and by the Symbolist painters, who valued his visionary and allegorical landscapes. The Norwegian Symbolist Edvard Munch (1863–1944) would have seen Friedrich’s work during a visit to Berlin in the 1880s. Munch’s 1899 print The Lonely Ones echoes Friedrich’s Rückenfigur (back figure), although in Munch’s work the focus has shifted away from the broad landscape and toward the sense of dislocation between the two melancholy figures in the foreground. 
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4.8 cm width
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