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| Keywords: Fantasy of the Alps (Carl Gustav Carus) - Nationalmuseum - 179389.tif Artwork Creator Carl Gustav Carus Fantasy of the Alps New acquisitions June 2016 Three examples of Dresden Romanticism Nationalmuseum has acquired three works by painters of the Dresden Romantic school Fantasy of the Alps by Carl Gustav Carus Oak and Birch by Carl Julius von Leypold and Dresden at Sunset by Knud Baade Along with the works by Johan Christian Dahl already in the museum s collection the new acquisitions constitute a comprehensive presentation of a significant period in the art history of northern Europe For several decades starting around the turn of the 19th century Dresden was a major centre of the Romantic movement in literature philosophy and art The ideas behind this intense period of artistic creativity rippled across much of Europe A key figure of the period was Caspar David Friedrich who advocated a fundamental renewal of the landscape painting genre Previous timeless and faraway landscapes from around 1800 harkened back to Claude Lorrain s 17th-century Arcadian scenes Caspar David Friedrich broke with this long-held ideal by painting more realistic motifs He depicted nature with great precision and allowed the locations of his paintings to appear as if they were the audience s own surroundings However his intent was to connect onlookers through the image with something else perhaps best described as the freedom to let their own imagination take over A relationship between artist painting and audience that according to some constitutes the very essence of Romanticism as expressed by the poet Novalis in the famous lines The world must be romanticized Only in that way will one rediscover its original senses Š I romanticize something when I give the commonplace a higher meaning the known the dignity of the unknown and the finite the appearance of the infinite Incorporating lifelike elements Caspar David Friedrich composed his landscapes so as to turn scenery into food for the imagination rather than mere terrain so as to remind audiences of the extraordinary that is inherent in the familiar All three of Nationalmuseum s new acquisitions illustrate this principle Carl Gustav Carus 1789 1869 Fantasy of the Alps is a transfixing scene with the dominant dramatically positioned eagles in the foreground Longing was a concept central to Romantic art and literature and was often represented by the horizon or by distant mountains that awaken dreams of what lies beyond The eagles in effect make this painting a Romantic manifesto as if to prove the point that there are no limits to how far the inner eye can see A doctor by profession Carus was a member of Dresden s intellectual elite and was close friends with Goethe Caspar David Friedrich and Johan Christian Dahl Carl Julius von Leypold 1806 1874 studied under both Johan Christian Dahl and Caspar David Friedrich Of all Friedrich s pupils he was the one who came closest to his teacher in terms of technique so much so that several of his paintings were long mistaken for works by Friedrich and have only fairly recently been identified as Leypold s work Nationalmuseum s newly acquired painting is a study of an oak and a birch tree on a hillside Judging by the date on the work 18 April 1832 it was painted in a single day and the fresh style suggests that Leypold painted it on location However it is also conceivable that he did not find a scene that looked exactly like this but rather sought out the trees individually after deciding what he was going to paint Although meticulously realistic in its depiction of nature there is something about the painting that is hard to pin down something that feeds the audience s imagination The intricately stylized branches of the trees call to mind the ornamentation of Gothic cathedrals and the hillside is balanced in such a way that it is hard not to imagine what might lie beyond The third painting is not much bigger than a postcard but epic in nature It is dated 1838 Knud Baade 1808 1879 travelled from Norway to Dresden to study under Johan Christian Dahl During his time in the city he also encountered Caspar David Friedrich In this work he painted a view of Dresden from a spot beside the Elbe just outside the city All is quiet and the sun is setting Examining the painting in detail we find nothing that could truly be described as unrealistic or unnatural and yet that is effectively how it seems Baade may have painted the scene to take home as a souvenir As Novalis would have said Baade romanticized the city he was visiting and thus came to know it He gave the finite the appearance of the infinite and the known the dignity of the unknown Nationalmuseum s purchase of these works has been made possible by a generous bequest from the Wiros Fund Nationalmuseum has no budget of its own for new acquisitions but relies on gifting and financial support from private funds and foundations to enhance its collections of fine art and craft Inventory numbers Carl Gustav Carus Fantasy of the Alps 1822 NM 7308 Carl Julius von Leypold Oak and Birch 1832 NM 7327 Knud Baade Dresden at Sunset 1838 NM 7325 MĂ„nadens nyförvĂ€rv Juni 2016 Tre exempel pĂ„ Dresden-romantik Nationalmuseum har förvĂ€rvat tre exempel pĂ„ Dresden-romantikens bildkonst Fantasi frĂ„n Alperna av Carl Gustav Carus Ek och björk av Carl Julius von Leypold och Dresden i solnedgĂ„ng av Knud Baade Tillsammans med de verk av Johan Christian Dahl som sedan tidigare finns i samlingen gĂ„r det nu att pĂ„ ett mĂ„ngsidigt sĂ€tt presentera ett viktigt skede i den nordeuropeiska konsthistorien Runt sekelskiftet 1800 och nĂ„gra decennier framĂ„t var Dresden ett viktigt centrum för det som betecknas som romantiken inom litteratur filosofi och bildkonst IdĂ©erna bakom det konstnĂ€rliga skapandet spred sig som ringar pĂ„ vattnet över stora delar av Europa En av tidens nyckelfigurer var Caspar David Friedrich som stod för en fundamental förnyelse av landskapsmĂ„leriet Tidigare landskapskonst framstĂ€llde ofta avlĂ€gsna scenerier bortom tid och rum som Ă€nnu omkring Ă„r 1800 hade sin grund i Claude Lorrains arkadiska 1600-talsmĂ„leri Caspar David Friedrich bröt med det Ă€ldre idealet genom att mĂ„la mer verklighetsnĂ€ra motiv Han Ă„tergav naturen med stor precision och lĂ€t platserna i sina mĂ„lningar framstĂ„ som om de liknade betraktarens egna omgivningar Avsikten var dock samtidigt att betraktaren genom bilden skulle sĂ€ttas i förbindelse med nĂ„got annat att bilden skulle vĂ€cka kĂ€nslan av nĂ„got svĂ„rgripbart bortom sjĂ€lva bildrummet NĂ„got som kanske bĂ€st kan beskrivas som en potential eller ett spelrum för den egna förestĂ€llningsförmĂ„gan En relation mellan konstnĂ€r bild och betraktare som ofta sĂ€gs motsvara romantikens sjĂ€lva essens och som formulerats i nĂ„gra berömda rader av poeten Novalis dĂ€r han skriver att VĂ€rlden mĂ„ste romantiseras SĂ„ Ă„terfinner man den ursprungliga meningen Genom att ge det lĂ„ga en högre innebörd det vanliga en hemlighetsfull lyster det kĂ€nda vĂ€rdigheten av nĂ„gon okĂ€nt det Ă€ndliga ett oĂ€ndligt sken sĂ„ romantiserar jag det Med naturtrogna delar komponerade Caspar David Friedrich landskapet pĂ„ ett sĂ€tt som gör naturen till nĂ„got fantasieggande istĂ€llet för ren terrĂ€ng Som sĂ€tter fantasin i rörelse och som uppmĂ€rksammar betraktaren pĂ„ det extraordinĂ€ra i det vĂ€lbekanta Nationalmuseums tre nyförvĂ€rv bygger alla pĂ„ denna princip Carl Gustav Carus 1789-1869 Fantasi frĂ„n Alperna Ă€r en tillspetsad scen med de dominerande dramatiskt arrangerade örnarna i förgrunden LĂ€ngtan var ett centralt begrepp i romantikens konst och litteratur ofta illustrerat av horisonten eller av fjĂ€rran berg som man drömde sig bortom Ărnarna gör mĂ„lningen till en nĂ€rmast programartad bild som ett slags bevis för att den inre blickens rĂ€ckvidd saknar grĂ€nser Carl Gustav Carus var i grunden lĂ€kare Samtidigt var han nĂ€ra vĂ€n med bland andra Goethe och personer i Dresdens intellektuella elit som Caspar David Friedrich och Johan Christian Dahl Carl Julius von Leypold 1806-1874 var elev till bĂ„de Johan Christian Dahl och Caspar David Friedrich Han var den av Friedrichs elever som mĂ„leritekniskt kom sin lĂ€rare allra nĂ€rmast sĂ„ till den grad att flera av hans mĂ„lningar misstagits för verk av Friedrich och först under senare Ă„r kunnat identifieras som verk av honom sjĂ€lv Nationalmuseums nyförvĂ€rvade mĂ„lning Ă€r en studie som förestĂ€ller en ek och en björk pĂ„ en slĂ€nt Av dateringen den 18 april 1832 att döma Ă€r den utförd inom loppet av en enda dag och det friska mĂ„leriet tyder pĂ„ att Leypold arbetat framför motivet Men samtidigt kan man tĂ€nka sig att konstnĂ€ren inte funnit nĂ„got sceneri som sĂ„g ut precis sĂ„ hĂ€r utan att han hittat trĂ€den var för sig efter att ha bestĂ€mt sig för vad han avsĂ„g att mĂ„la Ăven om naturtroheten framstĂ„r som minutiös Ă€r det nĂ„got med bilden som Ă€r svĂ„rt att sĂ€tta fingret pĂ„ nĂ„got som sĂ€tter betraktarens fantasi i rörelse Med sina försiktigt stiliserade grenverk för trĂ€den tankarna till gotiska katedralers ornamentik och slĂ€nten Ă€r avvĂ€gd pĂ„ ett sĂ„dant sĂ€tt att tanken pĂ„ vad som finns bakom Ă€r svĂ„r att slĂ€ppa Den tredje mĂ„lningen Ă€r inte mycket större Ă€n ett vykort men storslagen till sin karaktĂ€r Den Ă€r daterad 1838 Knud Baade 1808-1879 reste frĂ„n Norge för att studera i Dresden för Johan Christian Dahl Under sin tid i staden kom han Ă€ven i kontakt med Caspar David Friedrich HĂ€r han har mĂ„lat en vy över Dresden frĂ„n en punkt vid floden Elbe strax utanför stadskĂ€rnan Det Ă€r alldeles stilla och solen hĂ„ller pĂ„ att gĂ„ ner Granskar man bilden i detalj hittar man egentligen inget man kan peka pĂ„ som overkligt eller onaturligt men Ă€ndĂ„ Ă€r det nĂ€rmast sĂ„ den framstĂ„r Baade kan mycket vĂ€l ha mĂ„lat vyn för att ha med sig hem som resminne Man skulle med Novalis ord kunna sĂ€ga att han romantiserat staden han vistats i och lĂ€rt kĂ€nna och gett det Ă€ndliga och bekanta ett oĂ€ndligt sken och vĂ€rdigheten av det obekanta FörvĂ€rven har möjliggjorts genom donationsmedel ur Wirosfonden Nationalmuseum har inga egna medel att förvĂ€rva konst och konsthantverk för utan samlingarna berikas genom gĂ„vor och privata stiftelse- och fondmedel Carl Gustav Carus Fantasi frĂ„n Alperna 1822 NM 7308 Carl Julius von Leypold Ek och björk 1832 NM 7327 Knud Baade Dresden i solnedgĂ„ng 1838 NM 7325 header New acquisitions June 2016 Three examples of Dresden Romanticism Nationalmuseum has acquired three works by painters of the Dresden Romantic school Fantasy of the Alps by Carl Gustav Carus Oak and Birch by Carl Julius von Leypold and Dresden at Sunset by Knud Baade Along with the works by Johan Christian Dahl already in the museum s collection the new acquisitions constitute a comprehensive presentation of a significant period in the art history of northern Europe For several decades starting around the turn of the 19th century Dresden was a major centre of the Romantic movement in literature philosophy and art The ideas behind this intense period of artistic creativity rippled across much of Europe A key figure of the period was Caspar David Friedrich who advocated a fundamental renewal of the landscape painting genre Previous timeless and faraway landscapes from around 1800 harkened back to Claude Lorrain s 17th-century Arcadian scenes Caspar David Friedrich broke with this long-held ideal by painting more realistic motifs He depicted nature with great precision and allowed the locations of his paintings to appear as if they were the audience s own surroundings However his intent was to connect onlookers through the image with something else perhaps best described as the freedom to let their own imagination take over A relationship between artist painting and audience that according to some constitutes the very essence of Romanticism as expressed by the poet Novalis in the famous lines The world must be romanticized Only in that way will one rediscover its original senses Š I romanticize something when I give the commonplace a higher meaning the known the dignity of the unknown and the finite the appearance of the infinite Incorporating lifelike elements Caspar David Friedrich composed his landscapes so as to turn scenery into food for the imagination rather than mere terrain so as to remind audiences of the extraordinary that is inherent in the familiar All three of Nationalmuseum s new acquisitions illustrate this principle Carl Gustav Carus 1789 1869 Fantasy of the Alps is a transfixing scene with the dominant dramatically positioned eagles in the foreground Longing was a concept central to Romantic art and literature and was often represented by the horizon or by distant mountains that awaken dreams of what lies beyond The eagles in effect make this painting a Romantic manifesto as if to prove the point that there are no limits to how far the inner eye can see A doctor by profession Carus was a member of Dresden s intellectual elite and was close friends with Goethe Caspar David Friedrich and Johan Christian Dahl Carl Julius von Leypold 1806 1874 studied under both Johan Christian Dahl and Caspar David Friedrich Of all Friedrich s pupils he was the one who came closest to his teacher in terms of technique so much so that several of his paintings were long mistaken for works by Friedrich and have only fairly recently been identified as Leypold s work Nationalmuseum s newly acquired painting is a study of an oak and a birch tree on a hillside Judging by the date on the work 18 April 1832 it was painted in a single day and the fresh style suggests that Leypold painted it on location However it is also conceivable that he did not find a scene that looked exactly like this but rather sought out the trees individually after deciding what he was going to paint Although meticulously realistic in its depiction of nature there is something about the painting that is hard to pin down something that feeds the audience s imagination The intricately stylized branches of the trees call to mind the ornamentation of Gothic cathedrals and the hillside is balanced in such a way that it is hard not to imagine what might lie beyond The third painting is not much bigger than a postcard but epic in nature It is dated 1838 Knud Baade 1808 1879 travelled from Norway to Dresden to study under Johan Christian Dahl During his time in the city he also encountered Caspar David Friedrich In this work he painted a view of Dresden from a spot beside the Elbe just outside the city All is quiet and the sun is setting Examining the painting in detail we find nothing that could truly be described as unrealistic or unnatural and yet that is effectively how it seems Baade may have painted the scene to take home as a souvenir As Novalis would have said Baade romanticized the city he was visiting and thus came to know it He gave the finite the appearance of the infinite and the known the dignity of the unknown Nationalmuseum s purchase of these works has been made possible by a generous bequest from the Wiros Fund Nationalmuseum has no budget of its own for new acquisitions but relies on gifting and financial support from private funds and foundations to enhance its collections of fine art and craft Inventory numbers Carl Gustav Carus Fantasy of the Alps 1822 NM 7308 Carl Julius von Leypold Oak and Birch 1832 NM 7327 Knud Baade Dresden at Sunset 1838 NM 7325 MĂ„nadens nyförvĂ€rv Juni 2016 Tre exempel pĂ„ Dresden-romantik Nationalmuseum har förvĂ€rvat tre exempel pĂ„ Dresden-romantikens bildkonst Fantasi frĂ„n Alperna av Carl Gustav Carus Ek och björk av Carl Julius von Leypold och Dresden i solnedgĂ„ng av Knud Baade Tillsammans med de verk av Johan Christian Dahl som sedan tidigare finns i samlingen gĂ„r det nu att pĂ„ ett mĂ„ngsidigt sĂ€tt presentera ett viktigt skede i den nordeuropeiska konsthistorien Runt sekelskiftet 1800 och nĂ„gra decennier framĂ„t var Dresden ett viktigt centrum för det som betecknas som romantiken inom litteratur filosofi och bildkonst IdĂ©erna bakom det konstnĂ€rliga skapandet spred sig som ringar pĂ„ vattnet över stora delar av Europa En av tidens nyckelfigurer var Caspar David Friedrich som stod för en fundamental förnyelse av landskapsmĂ„leriet Tidigare landskapskonst framstĂ€llde ofta avlĂ€gsna scenerier bortom tid och rum som Ă€nnu omkring Ă„r 1800 hade sin grund i Claude Lorrains arkadiska 1600-talsmĂ„leri Caspar David Friedrich bröt med det Ă€ldre idealet genom att mĂ„la mer verklighetsnĂ€ra motiv Han Ă„tergav naturen med stor precision och lĂ€t platserna i sina mĂ„lningar framstĂ„ som om de liknade betraktarens egna omgivningar Avsikten var dock samtidigt att betraktaren genom bilden skulle sĂ€ttas i förbindelse med nĂ„got annat att bilden skulle vĂ€cka kĂ€nslan av nĂ„got svĂ„rgripbart bortom sjĂ€lva bildrummet NĂ„got som kanske bĂ€st kan beskrivas som en potential eller ett spelrum för den egna förestĂ€llningsförmĂ„gan En relation mellan konstnĂ€r bild och betraktare som ofta sĂ€gs motsvara romantikens sjĂ€lva essens och som formulerats i nĂ„gra berömda rader av poeten Novalis dĂ€r han skriver att VĂ€rlden mĂ„ste romantiseras SĂ„ Ă„terfinner man den ursprungliga meningen Genom att ge det lĂ„ga en högre innebörd det vanliga en hemlighetsfull lyster det kĂ€nda vĂ€rdigheten av nĂ„gon okĂ€nt det Ă€ndliga ett oĂ€ndligt sken sĂ„ romantiserar jag det Med naturtrogna delar komponerade Caspar David Friedrich landskapet pĂ„ ett sĂ€tt som gör naturen till nĂ„got fantasieggande istĂ€llet för ren terrĂ€ng Som sĂ€tter fantasin i rörelse och som uppmĂ€rksammar betraktaren pĂ„ det extraordinĂ€ra i det vĂ€lbekanta Nationalmuseums tre nyförvĂ€rv bygger alla pĂ„ denna princip Carl Gustav Carus 1789-1869 Fantasi frĂ„n Alperna Ă€r en tillspetsad scen med de dominerande dramatiskt arrangerade örnarna i förgrunden LĂ€ngtan var ett centralt begrepp i romantikens konst och litteratur ofta illustrerat av horisonten eller av fjĂ€rran berg som man drömde sig bortom Ărnarna gör mĂ„lningen till en nĂ€rmast programartad bild som ett slags bevis för att den inre blickens rĂ€ckvidd saknar grĂ€nser Carl Gustav Carus var i grunden lĂ€kare Samtidigt var han nĂ€ra vĂ€n med bland andra Goethe och personer i Dresdens intellektuella elit som Caspar David Friedrich och Johan Christian Dahl Carl Julius von Leypold 1806-1874 var elev till bĂ„de Johan Christian Dahl och Caspar David Friedrich Han var den av Friedrichs elever som mĂ„leritekniskt kom sin lĂ€rare allra nĂ€rmast sĂ„ till den grad att flera av hans mĂ„lningar misstagits för verk av Friedrich och först under senare Ă„r kunnat identifieras som verk av honom sjĂ€lv Nationalmuseums nyförvĂ€rvade mĂ„lning Ă€r en studie som förestĂ€ller en ek och en björk pĂ„ en slĂ€nt Av dateringen den 18 april 1832 att döma Ă€r den utförd inom loppet av en enda dag och det friska mĂ„leriet tyder pĂ„ att Leypold arbetat framför motivet Men samtidigt kan man tĂ€nka sig att konstnĂ€ren inte funnit nĂ„got sceneri som sĂ„g ut precis sĂ„ hĂ€r utan att han hittat trĂ€den var för sig efter att ha bestĂ€mt sig för vad han avsĂ„g att mĂ„la Ăven om naturtroheten framstĂ„r som minutiös Ă€r det nĂ„got med bilden som Ă€r svĂ„rt att sĂ€tta fingret pĂ„ nĂ„got som sĂ€tter betraktarens fantasi i rörelse Med sina försiktigt stiliserade grenverk för trĂ€den tankarna till gotiska katedralers ornamentik och slĂ€nten Ă€r avvĂ€gd pĂ„ ett sĂ„dant sĂ€tt att tanken pĂ„ vad som finns bakom Ă€r svĂ„r att slĂ€ppa Den tredje mĂ„lningen Ă€r inte mycket större Ă€n ett vykort men storslagen till sin karaktĂ€r Den Ă€r daterad 1838 Knud Baade 1808-1879 reste frĂ„n Norge för att studera i Dresden för Johan Christian Dahl Under sin tid i staden kom han Ă€ven i kontakt med Caspar David Friedrich HĂ€r han har mĂ„lat en vy över Dresden frĂ„n en punkt vid floden Elbe strax utanför stadskĂ€rnan Det Ă€r alldeles stilla och solen hĂ„ller pĂ„ att gĂ„ ner Granskar man bilden i detalj hittar man egentligen inget man kan peka pĂ„ som overkligt eller onaturligt men Ă€ndĂ„ Ă€r det nĂ€rmast sĂ„ den framstĂ„r Baade kan mycket vĂ€l ha mĂ„lat vyn för att ha med sig hem som resminne Man skulle med Novalis ord kunna sĂ€ga att han romantiserat staden han vistats i och lĂ€rt kĂ€nna och gett det Ă€ndliga och bekanta ett oĂ€ndligt sken och vĂ€rdigheten av det obekanta FörvĂ€rven har möjliggjorts genom donationsmedel ur Wirosfonden Nationalmuseum har inga egna medel att förvĂ€rva konst och konsthantverk för utan samlingarna berikas genom gĂ„vor och privata stiftelse- och fondmedel Carl Gustav Carus Fantasi frĂ„n Alperna 1822 NM 7308 Carl Julius von Leypold Ek och björk 1832 NM 7327 Knud Baade Dresden i solnedgĂ„ng 1838 NM 7325 1822 Oil on canvas Olja pĂ„ duk Size cm 67 52 5 Framed Size cm 82 67 1 6 5 Institution Nationalmuseum Stockholm accession number 179389 NM 7308 place of creation Anna Danielsson / Nationalmuseum Nationalmuseum Stockholm cooperation project Licensed-PD-Art PD-old-auto PD-Nationalmuseum_Stockholm 1869 DEFAULTSORT Carus Carl Gustav; Phantasie aus der Alpenwelt; Nationalmuseum Stockholm Media contributed by Nationalmuseum Stockholm 2016-10 Media contributed by Nationalmuseum Stockholm connect to wikidata item German paintings in the Nationalmuseum Stockholm Paintings by Carl Gustav Carus | ||||