where can i see caspar david friedrich paintings
Caspar David Friedrich (September 5, 1774 – May 7, 1840) was a landscape painter of the nineteenth-century German Romantic movement, of which he is now considered the most important painter. A painter and draughtsman, Friedrich is best known for his later allegorical landscapes, which feature contemplative figures silhouetted against night skies, morning mists, barren trees, and Gothic ruins. His primary interest as an artist was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey the spiritual experiences of life.
(September 5, 1774 – May 7, 1840)
Friedrich’s work brought him renown early in his career, and contemporaries such as the French sculptor David d’Angers 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. 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, interpreted 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.
Caspar David Friedrich (5 September 1774 – 7 May 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 or megalithic 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”.
This new way of creating landscapes reinforced the idea that the viewer should contemplate the sublimity of the natural world and read into it an expression of the spiritual. The potential for deep meaning in a sparse, non-narrative style, would be critical to modernist abstraction. This painting, in particular, has been linked with the post World War II Color Field paintings of Mark Rothko, also intended to cultivate a spiritual experience for the viewer.
While Friedrich was deeply religious, aspiring to paint an image that would convey the power of God more fully than possible through words, his approach was highly controversial. When the artist opened his studio to the public in 1808, allowing them to view this work, the 19 th -century art critic Wilhelm von Ramdohr argued that a landscape could not function as an altarpiece. Friedrich and his supporters publicly defended the painting and the resulting debate helped to build Friedrich’s reputation.
Friedrich was a prolific artist who produced more than 500 attributed works.  In line with the Romantic ideals of his time, he intended his paintings to function as pure aesthetic statements, so he was cautious that the titles given to his work were not overly descriptive or evocative. It is likely that some of today’s more literal titles, such as The Stages of Life, were not given by the artist himself, but were instead adopted during one of the revivals of interest in Friedrich.  Complications arise when dating Friedrich’s work, in part because he often did not directly name or date his canvases. He kept a carefully detailed notebook on his output, however, which has been used by scholars to tie paintings to their completion dates. 
The Cross Beside The Baltic (1815), 45 × 33.5 cm. Schloss Charlottenburg, Berlin. This painting marked a move away by Friedrich from depictions in broad daylight, and a return to nocturnal scenes, twilight and a deeper poignancy of mood. 
The Caspar David Friedrich Centre sees itself as a place of remembrance and documentation of the artist’s life and work. It makes reference to the paintings exhibited at the Pomeranian State Museum and offers adults and children a varied and changing programme of talks, literary readings, exhibitions and workshops. In addition, visitors, both young and old, can browse the museum shop, which was modelled on a design by Friedrich, which his brother Christian had asked him to draft for a new shop interior.
In the historic basement vaults, visitors are taken on a time travel back to the days of the young Caspar David Friedrich. His father’s soap and candle works, containing much of the original equipment, has been preserved to this day and comes to life via various workshops in which visitors can try themselves their hand at these old trades.