• Moonrise over the Sea, 1822
  • Kelly Pool, 1903
  • Wheat Field With Reaper And Sun, 1889
  • A Friend in Need 2, 1903
  • Woman with a Parasol and Small Child on a Sunlit Hillside,1874
  • Old Riga view, 2011 - Vezur
  • Riga in begining of 20th century, 2011 - Vezur
  • Spring, 1879
  • Water Lilies, Green Reflection, Left Part, 1923
  • Caricature Self Portrait, 1889
  • Cagnes Landscape
  • Valdemara street, 2011 - Vezur
  • Nabis Landscape, 1890
  • View Of Venice Fog, 1881
  • Harlequin, 1890
  • A Gust of Wind, 1883
  • Riga in Blue, 2011 - Vezur
  • Impression, Sunrise, 1872
  • A Carnival Evening, 1886
  • The Banks of the River at Veneux, 1881
  • Fields of Gold, 2011 - Vezur
  • Flower Clouds, 1903
  • Old Town In The Snow, 2011 - Vezur
  • Four Bathers, 1905
  • Self Portrait With Spread Fingers, 1909
  • Dancers in Blue, 1890
  • Café Terrace at Night, 1888
  • Flying people, 2011 - Vezur
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • Riga at sunset, 2011 - Vezur
  • Horses, 2011 - Vezur
  • Lying act, 1917
  • Melancholy, 1874
  • Negress, 1869
  • Goldau, 1843
  • Haymaking, 2011 - Vezur
  • Riga at Night, 2011 - Vezur
  • Sunflowers, 1888
  • Beatrice, 1897
  • Foggy Morning, 2011 - Vezur
  • Avenue of poplars at sunset, 1884
  • Study of a Figure Outdoors (Facing Right), 1886
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884
  • Lovers: Man and Woman I, 1914
  • Morning in a Pine Forest, 1889
  • Winter, 2011 - Vezur
  • Portraits at the Stock Exchange, 1879
  • Lady with hat and feather boa, 1909
  • Study for The Spanish Dance, 1882
  • Interior, Woman at the Window, 1880

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.