#the alte nationalgalerie
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Ruins of the Eldena Monastery at Greifswald, Caspar David Friedrich, ca. 1825
#art#art history#Caspar David Friedrich#landscape#landscape painting#ruins#Romanticism#Romantic art#German Romanticism#Germany#German art#19th century art#oil on canvas#Alte Nationalgalerie
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#peoplematchingartworks#caspar david friedrich#alte nationalgalerie#stefandraschan#photography#contemporaryart#berlin
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Sleeping Beauty by Louis Sussmann-Hellborn, ca. 1878, Alte Nationalgalerie +
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Johann Wilhelm Preyer (1803-1889) "Fruit Still Life" (1833) Oil on canvas Located in the Alte Nationalgalerie, Berlin, Germany
#paintings#art#artwork#still life painting#fruit#johann wilhelm preyer#oil on canvas#fine art#alte nationalgalerie#museum#art gallery#german artist#still life#fruits#grapes#walnuts#food#glass#self portrait#1830s#late 1800s#late 19th century
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Die Toteninsel III (Isle of the Dead [third version])
1883
Arnold Böcklin (Swiss, 1827-1901)
📍Alte Nationalgalerie (Old National Gallery), Berlin.
#dark academia#light academia#classical#academia aesthetic#escapism#academia#books and libraries#classic literature#books#architecture#art#painting#Die Toteninsel III#Isle of the Dead [third version]#artist#painter#Arnold Böcklin#swiss#1880s#1800s#19th century#Alte Nationalgalerie#Old National Gallery#berlin#royal core#cottage core#aesthetic#aesthetics#academic#artistic
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Woman at a Window (1822) 🎨 Caspar David Friedrich 🏛️ Alte Nationalgalerie 📍 Berlin, Germany
At the window of a barren room you can see the back view of a young woman looking outside. It is Caroline, the wife of Caspar David Friedrich, who looks from the artist's studio to the opposite bank of the Elbe. In 1822, four years after his marriage, Frederick created this small-format, private image. Even in the year of origin, the painting was shown at the Dresden Academy Exhibition: "A small picture depicting the artist's studio in his peculiar simplicity, in the middle of the background the window with the view of the Elbe and the opposite poplars, would be very true and pretty if Friedrich had not followed again here, which it loves to depict people straight from behind." (Wiener Zeitschrift für Kunst, 1822, . Börsch-Supan and K. W. Jähnig, Caspar David Friedrich, Catalogue of Works, Munich 1973, pp. 96). While the Viennese Magazine for Art reacted to Friedrich's painting with incomprehension, the mystery of the turning-off women inspired the poet Friedrich de la Motte Foqué to become a sonnet. Friedrich consistently constructed the simple, empty interior of horizontal and vertical. Nothing reveals comfort, only a short piece of floor made of wide wooden floorboards, a dark wall and a high window are visible. The female figure alone and the prospect of delicately green poplars on the other side, opening up by a wide spring sky, enliven the presentation. Resembling the filigree peak of a church tower, a ship mast appears in the upper window area, structured by a narrow cross. A subtle color sound of blue, green and ocher draws attention to the light steps in the finest nuances. With this 'window picture', Friedrich picked up a romantic motif of longing that links inside and outside, closeness and distance. The view outwards simultaneously goes inwards, in the center of the soul. Two further interior representations have been handed down by Friedrich: "Woman ascending to light" (1825, Pomeranian State Museum, Greifswald) and "Climbing woman with a candle" (around 1825, loaned from private property in pe.). Like "Frau am Fenster", these images remained in the possession of the artist's family for a long time. It was not until 1906, on the occasion of the exhibition of the century in the Nationalgalerie Berlin, where Friedrich was comprehensively represented with 36 paintings and 57 drawings, including "Frau am Fenster", and the painterly work of the artist, which had been forgotten, was rediscovered.
#Woman at a Window#Frau am Fenster#Caspar David Friedrich#Alte Nationalgalerie#Berlin#Germany#1822#oil painting#painting#oil on canvas#german#art#artwork#art history#Romanticism
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1879-1885, Gustav Heinrich Eberlein, Dornauszieher (Boy removing a thorn)
#Gustav Heinrich Eberlein#Dornauszieher#Boy removing a thorn#saec. XIX#1879#1885#sculptura#Alte Nationalgalerie#Berolini#Iuvenis
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Berlin 2017. King Friedrich Wilhelm IV still rides his horse on Museum Island as the tourists crowd around.
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“The Abbey in the Oakwood”, by Casper David Friedrich (1810)
#The Abbey in the Oakwood#oil painting#casper david friedrich#1810#graveyard#loneliness#cemetery#romantic art#romanticism#Art#german art#Alte Nationalgalerie#landscape art#landscape painting#nature art#Turner#goethe#edvard munch#symbolism#fritz lang#f. w. murnau#The stages of life
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#peoplesleepinginmuseums#sleep#stendhal syndrome#museum#alte nationalgalerie#stefandraschan#photography#contemporaryart#berlin
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Title: The Knight St. George Artist: Hans Thoma (German, 1839-1924) Date: 1889 Genre: religious art Movement: Symbolism Medium: oil on cardboard Dimensions: 101 cm (39.7 in) high x 73 cm (28.7 in) wide Location: Alte Nationalgalerie, Berlin
#art#art history#Hans Thoma#religious art#Christian art#Christianity#St. George#St. George and the Dragon#Symbolism#Symbolist art#German art#19th century art#oil on cardboard#Alte Nationalgalerie
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#peoplematchingartworks#ferdinand hodler#alte nationalgalerie#stefandraschan#photography#contemporaryart#berlin
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Today's Flickr photo with the most hits: this pensive chap, in the Alte Nationalgalerie, in Berlin.
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Johann Wilhelm Preyer (1803-1889) "Gartenblumenstrauß im Krug" ("Garden bouquet in the jug") (1831) Oil on canvas Located in the Alte Nationalgalerie, Berlin, German
#paintings#art#artwork#still life painting#flowers#johann wilhelm preyer#oil on canvas#fine art#alte nationalgalerie#museum#art gallery#german artist#colorful#colourful#green#pink#purple#white#yellow#1830s#early 1800s#early 19th century
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