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Self-portrait (1800) reproduction of painting by Caspar David Friedrich. ALL GICLEE PRINTS
Self-portrait (1800) reproduction of painting by Caspar David Friedrich. ALL GICLEE PRINTS

Self-portrait (1800)

Caspar David Friedrich
Technique: Giclée quality print
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"Self-portrait" (1800) by Caspar David Friedrich offers a compelling glimpse into the soul of one of the most profound Romantic artists. This intricate graphite drawing reveals Friedrich's mastery of detail and his ability to convey intense emotion through his portraiture.This self-portrait captures Friedrich at a relatively young age with a stirring and direct gaze that seems to communicate directly with the viewer, establishing a silent dialogue. His eyes are wide and expressive, underscored by arched eyebrows, conveying a sense of earnest introspection and perhaps a hint of surprise. The artist's hair is tousled, which adds a naturalistic and unguarded quality to the work.Friedrich's attire is simple, with a draped, high-collared garment that suggests a classical influence, a common stylistic preference in portraiture at the time that aligns with the Romantic era's admiration for antiquity. The soft folds of the fabric are rendered with care, suggesting the texture and weight of the material.This self-portrait not only showcases Friedrich's technical skill but also offers an intimate portrayal of the artist as a thoughtful and introspective individual.

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Artist
Caspar David Friedrich
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Caspar David Friedrich (5 September 1774 – 7 May 1840) was a German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his allegorical landscapes, which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest 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".

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