The grand landscapes of Caspar David Friedrich are the heart of German Romanticism, and the Albertinum exhibition in Dresden, running from August 24, 2024, to January 5, 2025, offers visitors the chance to immerse themselves in his visionary art. With 47 of his most iconic oil paintings on display, this exhibition is part of the 250th-anniversary celebrations of Friedrich’s birth. Themes of nature, solitude, politics, and religion are woven throughout, providing a profound insight into Friedrich’s exploration of the human condition.
Having already visited Friedrich’s early sketches at the Kupferstich-Kabinett, I was eager to experience how these meticulous studies evolved into the sweeping, sublime landscapes that define his legacy. The exhibition did not disappoint, offering both visual and intellectual richness.
Exhibition Setup
Upon entering the Albertinum, it was clear that this exhibition was in high demand — so much so that tickets were timed to manage the crowds. I visited on September 1st, just a week after the exhibition opened, and I was fortunate to have an afternoon slot. As the day went on, the number of visitors decreased, and I eventually found myself standing alone before some of Friedrich’s most famous works — an unforgettable experience.
The exhibition space is thoughtfully arranged, with five distinct sections that explore key aspects of Friedrich’s work: figures painted from behind, memories, color, trees, and religion. Each section offers a new perspective on Friedrich’s art, guiding visitors through his thematic evolution. The spacious layout, combined with soft, focused lighting, allows visitors to fully engage with the artwork without being overwhelmed.
One particularly impressive display is a massive wall featuring numerous paintings stacked in four or five rows. While visually striking, this setup made it difficult to examine the finer details of the works higher up. Given Friedrich’s incredibly realistic style, seeing those intricate details is key to fully appreciating his art. To compensate, visitors can pick up a small brochure that lists the titles and numbers of each painting on the wall — a practical but slightly inconvenient solution.
Key Works and Themes
Among the many highlights are some of Friedrich’s most famous works, including “The Tetschen Altar” and “Ships in the Harbour in the Evening”. Each section of the exhibition is filled with rich descriptions, though I recommend familiarizing yourself with Friedrich’s biography beforehand. While the texts provide valuable insights, having a deeper understanding of his life and the periods during which these works were created can enhance your experience.
One of the most captivating sections is dedicated to figures painted from behind. These solitary figures, often standing on the edge of vast landscapes, invite viewers to step into their shoes and experience the sublime. “The Wanderer above the Sea of Fog” and "Two Men Contemplating the Moon" are powerful example of this.
Another section focuses on Friedrich’s use of color, where muted tones dominate his canvases. Yet, in works like “Moonrise over the Sea,” Friedrich uses subtle shifts in color to create an atmosphere of calm reflection. His limited palette allows for an emotional depth that resonates beyond the surface.
The trees section struck a personal chord with me, as I had just seen Friedrich’s detailed studies of trees at the Kupferstich-Kabinett. Seeing how he translated these sketches into his oil paintings was fascinating. His obsession with trees—both their form and symbolism—runs through much of his work, and this section offered a deeper understanding of their importance in his landscapes.
Nature as a Metaphor
For Friedrich, nature was a profound metaphor for the human experience. His landscapes are not just representations of the physical world; they are meditations on life, death, and eternity. In “The Cemetery,” for instance, the crumbling ruins of a church in a foggy landscape speak to the impermanence of human life and the enduring beauty of nature.
As I walked through the exhibition, it became clear that Friedrich’s goal was to evoke a deeper emotional and philosophical response. His landscapes often serve as a bridge between the visible and the invisible, allowing viewers to contemplate their own relationship with nature and the larger forces at play in the world.
This idea resonates with my own artistic practice. Like Friedrich, I seek to convey something beyond the immediate beauty of nature — something that speaks to the soul and provokes reflection. His ability to do this through the vast, empty spaces in his landscapes is something I admire and hope to incorporate into my own work.
The Old Masters’ Influence
A unique aspect of the exhibition is the inclusion of 19 landscape paintings from the Gemäldegalerie Alte Meister, featuring works by artists such as Jacob van Ruisdael, Salvator Rosa, and Claude Lorrain. These Old Masters had a significant influence on Friedrich’s development, and seeing their works alongside his own provided a fascinating comparison. It’s clear that while Friedrich learned much from these earlier painters, he also forged his own distinct path, using landscapes as a vehicle for deeper, more personal themes.
This blend of influence and innovation is something I relate to in my own art. As a landscape artist, I am continually inspired by the work of past masters, but I strive to bring my own voice and perspective to the genre, much as Friedrich did.
Exploring Friedrich’s Techniques
In addition to the main exhibition, there is a small room dedicated to exploring Friedrich’s artistic techniques. Here, visitors can learn more about how his studies — many of which were seen in the Kupferstich-Kabinett — were transferred to his final oil paintings. The room provides fascinating insights into Friedrich’s use of brushstrokes, shading, priming, and underpainting. A short film explains how researchers examine his works to determine their authenticity and understand the process behind their creation. While the film is only available in German, it is still worth watching for its behind-the-scenes look at Friedrich’s working methods.
A Personal Reflection
By visiting the exhibition later in the day, I had the unique opportunity to view many of Friedrich’s major works without large crowds. While the beginning of my visit was crowded, as the time progressed, I was able to stand alone in front of some of his most significant pieces, such as “The Tetschen Altar” and “The Wanderer above the Sea of Fog.” This allowed me to fully immerse myself in the artwork, reflecting on Friedrich’s ability to capture both the vastness of nature and the intricacies of the human spirit.
I spent about one hour and 45 minutes in the exhibition, which gave me plenty of time to view each work, read the texts, and even revisit some of the pieces that resonated most with me. The overall experience was deeply moving, and it reminded me of the power that art — particularly landscape art —can have in evoking reflection and emotion.
Practical Information
Price: €12 for a combined ticket with the Kupferstich-Kabinett, €10 for the Albertinum exhibition only.
Opening Hours: 10 am to 6 pm daily, closed on Mondays.
Timeline: August 24, 2024 – January 5, 2025.
Address: Albertinum, Tzschirnerpl. 2, 01067 Dresden, Germany
Seeing Caspar David Friedrich’s landscapes in person was an experience that will stay with me for a long time. His ability to capture the grandeur of nature, while also exploring deeply personal and universal themes like solitude, faith, and the passage of time, made me reflect not just on his work, but on my own artistic journey.
As I stood before “The Wanderer above the Sea of Fog” and “The Tetschen Altar,” I felt a profound connection to Friedrich’s use of nature as a metaphor for the human experience. His landscapes are more than mere depictions of the physical world; they are meditations on our inner lives, our struggles, and our place in the universe. This connection to nature, and the way he communicates complex emotions through his landscapes, is something I strive to achieve in my own work.
I was also struck by Friedrich’s technical mastery. His compositions are not only visually stunning, but they also convey a sense of timelessness. I left the Albertinum inspired to revisit my own approach to composition, paying more attention to how I can use light, space, and symbolism to create deeper emotional resonance in my soft pastel landscapes.
Ultimately, this exhibition reaffirmed my belief in the power of landscape art to convey the ineffable — those feelings and thoughts that words alone cannot express. Just as Friedrich reassembled elements of nature to express something larger, I will continue to explore how I can use my own medium to evoke emotion, tell stories, and create connections between art and viewer.
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