• Stehend Karyatide, 1913
  • A Friend in Need, 1903
  • The Bather, 1879
  • The Vision after the Sermon, 1888
  • Midsummer Festival, 2011 - Vezur
  • Portraits at the Stock Exchange, 1879
  • The Vines, 1902
  • Morning in a Pine Forest, 1889
  • Tram No 10, 2011 - Vezur
  • Reclining Semi-Nude with Red Hat, 1910
  • Study of a Figure Outdoors (Facing Right), 1886
  • Old Town Back In 30's, 2011 - Vezur
  • San Giorgio Maggiore at Dusk, 1908
  • The Veteran in a New Field, 1865
  • Negress, 1869
  • The Red Vineyard, 1888
  • The Magpie, 1869
  • Russian Belle and Landscape, 1904
  • Haymaking, 2011 - Vezur
  • Dancers in Blue, 1890
  • Stork, 2011 - Vezur
  • The Hope II, 1908
  • Caricature Self Portrait, 1889
  • Portrait of a European Lady in Japanese Costume
  • Manao Tupapau (Spirit of the Dead Watching), 1892
  • Passion for Dance, 2011 - Vezur
  • Nabis Landscape, 1890
  • Harlequin, 1890
  • Independence Day, 2011 - Vezur
  • The Starry Night, 1889
  • A Carnival Evening, 1886
  • Interior, Woman at the Window, 1880
  • Man with a Pipe (aka The Man from Nice), 1918
  • Seacoast at Kurzeme, 2011 - Vezur
  • Self Portrait with Arm Twisting above Head, 1910
  • Portrait of Felix Feneon, 1890
  • Rosina, 1878
  • Deauville, The Basin, 1892
  • Big Red Buste, 1913
  • Evening in New York, 1890
  • The Last Supper, 1498
  • Buddah In His Youth, 1904
  • The Boat, 2011 - Vezur
  • Taking the Count, 1896
  • Sun Walk Over The Bridge, 2011 - Vezur
  • Saint John, 1892
  • Buckwheat Harvesters at Pont-Aven, 1888
  • Moonlight On The Loire Barbizon landscape
  • Impression, Sunrise, 1872
  • Kelly Pool, 1903

Wanderer above the Sea of Fog, 1818

Wanderer above the Sea of Fog, 1818

Caspar David Friedrich

Friedrich's greatest accomplishment was his ability to turn landscapes into a medium of physiological and spiritual biography. Here, he includes his own portrait within his landscape as a lay figure seen from behind, a device intended to invite the viewer to look at the world through the lens of the artist's own personal perception. Friedrich was captivated by the idea of encountering nature in solitude in deepest revines, as here on the pinncacle of a mountain, which was about as far away from urban civilization as a European man could get. In his later paintings, Friedrich will continue to stress that the very idea of "self-expression" had to be associated with physical and spiritual isolation. The Romantics believed that any artist who wanted to explore his own emotions, had necessarily to stand outside of the throng of money-making, political gimmickry, and urban noise in order to assert and maintain their positions.

The painting will be delivered unstreched, rolled in protective & presentable case.