what year did the louvre obtain casper david friedrich tree with ravens
The painting depicts a twisted oak tree, bare but for a few dead leaves, seen against an evening sky. An inscription on the back of the canvas refers to the hill at the painting’s center as a Hünengrab, or dolmen, a prehistoric burial ground.   In the distance can be seen the ocean, and Cape Arkona’s chalk cliffs, a favorite subject of Friedrich’s.  Two crows are perched on the oak, while a flock (also known, more correctly, as a “murder”) descends toward it. In the darkened foreground are a hacked trunk and the upright stump of another oak.
The Tree of Crows (also known as Raven Tree) is an oil painting of 1822 by the German Romantic artist Caspar David Friedrich. Acquired by the Musée du Louvre in 1975, it has been called one of Friedrich’s “most compelling paintings.” 
Eugène Delacroix (1798–1863), Mazeppa on the Dying Horse (1824), oil on canvas, 22.5 x 31 cm, Kansallisgalleria, Ateneum, Helsinki, Finland. Wikimedia Commons.
Byron’s poem ends when Mazeppa wakes up in bed, having been rescued from unconsciousness by a “Cossack Maid”, who then tends his wounds. Chassériau’s A Young Cossack Woman Finds Mazeppa Unconscious on a Wild Horse is one of the few faithful accounts of the end of the poem, down to the ravens flying overhead waiting to feed on Mazeppa’s corpse.
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‘ I . a-“- , r, . . . , . death, had bought his diary and many of his draw- ings and watercolors. Dahl kept the picture, of which Friedrich made two more versions (see cat. nos. 2, 3), until Friedrich’s death, when he sold it to the Gemaldegalerie in Dresden (see p. 16). It is now one of the artist’s best—known works. evening star, which is therefore revealed as the “secret aes- thetic center of the picture. ” Furthermore, if a horizontal line were drawn to divide the painting into two unequal parts, again according to the Golden Section, that line would run right through the eyes of the man in the cape and beret, who is thus established as the focal point of the work. The author kindly sent me the manuscript pages containing his discussion of the Dresden picture. That the Golden Section 1. In his forthcoming book Caspar David Friedri’th: /lsthetischev applies to this version only, with its carefully aligned moon Pmtestzmtismus, to be published by C. H. Beck (Munich) later in 2oo1,Werner Busch discusses the great importance that the Golden Section held in Friedrich’s oeuvre, for giving both underlying structure and meaning to his works. For example, if a vertical line were drawn to divide this painting into two unequal parts according to the ratio of the Golden Section, and a horizontal line were drawn across the center of the painting, those two lines would intersect exactly at the 2. and evening star, is another argument in favor of its being the first one Friedrich painted. See CDF 1973, cat. no. 261, pp. 356
Anna shared with me a little about the companies history; how the founder had taken his date to the MET three years ago and had fallen in love with the museum instead. It spurred him to make this company that would create exciting tours for people to experience in the museum. When we arrived to the first piece, Michelle, our veteran tour guide, took the lead. I liked how she tried to incorporate a few facts into her dialogue, albeit being interpretive. She also related how a 4,000 year old art piece related to a recent attempt to break the internet which I thought was cool.
I appreciated how the guides made sure that we did not get to close to the art as some of it can seem to invite a touch. Michelle and Anna were diligent trying to keep things interesting and the tour moving. We stopped a few times to do group circle activities, like answer questions about ourselves. Maybe it is my New Yorker sensibilities but I could have done without.