Friedrich, Caspar David (1774–1840)

Grave, Johannes

doi:10.1007/978-3-476-00206-8_41

Cited by 3 publications

(10 citation statements)

References 2 publications

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“…In particular, the German painter distinguishes himself by his elaboration and reconstruction of pictorial space aimed at defining a scene in which inconsistencies in the volumetric setting creates disorientation in the observer. (Grave, 2012) An example, that defines these peculiarities as Degrees of Freedom that influenced Friedrich's work, is the scaling and sizing of the instances of representation considering the perspectival structure created by the painter. This representational inconsistency, for instance in the painting The Sea of Ice, is precisely described by Johannes Grave in his monography on Friedrich.…”

Section: Degrees Of Freedom and Caspar David Friedrichmentioning

confidence: 99%

“…This representational inconsistency, for instance in the painting The Sea of Ice, is precisely described by Johannes Grave in his monography on Friedrich. Grave mentions the relationship between the size of the objects in the representation and the perspective definition of the depiction as the painter's denial of the aesthetic concept of the sublime in his work (Grave, 2012). Indeed, the presence of elements that disorient the observer, forcing them to a loss of spatial awareness, leads to a break between the painted scene and its observer, a materialized caesura on the pictorial surface.…”

Section: Degrees Of Freedom and Caspar David Friedrichmentioning

confidence: 99%

“…Spatial and perspectival arrangements. The standpoint of art history considers the handling of space as a scenic component in relation to the observer (Grave, 2012). Digital Art History strictly focuses on the geometric rules of perspective for the reconstruction of a depicted scene (Lourakis, Alongi, Delouis, Lippi and Spadoni, 2007).…”

Section: Table 6 Spatial and Perspectival Arrangementsmentioning

confidence: 99%

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An Interdisciplinary Literature Survey for Degrees of Freedom of Spatial Design

Esposito

2023

Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci.

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Abstract. The reproduction of pictorial scenes in a digital space is a reconstructive practice that has become well established in the digital humanities. In this particular case, the applicative example is the reconstruction of the depicted sceneries by Caspar David Friedrich. This study aims to provide the opportunity to investigate stylistic aspects and sizing inconsistencies that are peculiar to the painter. The transition from 2D pictorial space to 3D reconstruction requires a separate methodological analysis concerning the criteria and categories through which this transition has to be investigated. As both of these types of representation contain common characteristics, the 'translation' between the two methodologies has to be delivered through shared categories. Grasping categories with which this process has to be explored requires a definition of Literature Survey that includes bibliographical sources related to 2D and 3D representation and their visualisation and perception. The analysis of the literature is based on a qualitative content analysis methodology. The process leads us to identify interdisciplinary categories defined through an inductive analysis of the sources and a hierarchical structure of main categories (Degrees of Freedom) and sub-categories.

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Section: Degrees Of Freedom and Caspar David Friedrichmentioning

confidence: 99%

Section: Degrees Of Freedom and Caspar David Friedrichmentioning

confidence: 99%

Section: Table 6 Spatial and Perspectival Arrangementsmentioning

confidence: 99%

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An Interdisciplinary Literature Survey for Degrees of Freedom of Spatial Design

Esposito

2023

Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci.

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“…As a Lutheran, Friedrich shared a general scepticism towards the sense of sight, which inspired him to create a new form of religious art. As Johannes Grave has pointed out, Friedrich's landscape paintings show the artist's way of thinking about the medial conditionalities of images among negotiations of theological questions (Grave, 2011). This is not to say that Caspar David Friedrich had no interest in the atmospheric changes brought about by the onset of industrialization or that Romantic art in general is not crucial for scientific knowledge production, quite the contrary.…”

Section: Historic Paintings As Documents? Caspar Davidmentioning

confidence: 99%

Is it possible to estimate aerosol optical depth from historic colour paintings?

Savigny

Lange²,

Hemkendreis³

et al. 2022

Clim. Past

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Abstract. The idea of estimating stratospheric aerosol optical thickness from the twilight colours in historic paintings – particularly under conditions of volcanically enhanced stratospheric aerosol loading – is very tantalizing because it would provide information on the stratospheric aerosol loading over a period of several centuries. This idea has in fact been applied in a few studies in order to provide quantitative estimates of the aerosol optical depth after some of the major volcanic eruptions that occurred during the past 500 years. In this study we critically review this approach and come to the conclusion that the uncertainties in the estimated aerosol optical depths are so large that the values have to be considered questionable. We show that several auxiliary parameters – which are typically poorly known for historic eruptions – can have a similar effect on the red–green colour ratio as a change in optical depth typically associated with eruptions such as, for example, Tambora in 1815 or Krakatoa in 1883. Among the effects considered here, uncertainties in the aerosol particle size distribution have the largest impact on the colour ratios and hence the aerosol optical depth estimate. For solar zenith angles exceeding 80∘, uncertainties in the stratospheric ozone amount can also have a significant impact on the colour ratios. In addition, for solar zenith angles exceeding 90∘ the colour ratios exhibit a dramatic dependence on solar zenith angle, rendering the estimation of aerosol optical depth highly challenging. A quantitative determination of the aerosol optical depth may be possible for individual paintings for which all relevant parameters are sufficiently well constrained in order to reduce the related errors.

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“…Oder noch anders ausgedrückt: Die möglichst eindeutige (symbolische) Ausdeutung der wie Embleme herausgelesenen Inhalte im Bild dominiert die Interpretation so stark, dass nicht mehr darauf geachtet wird, dass aufgrund eines absichtlich durch Friedrich verunklärten perspektivischen Betrachterstandortes eine eindeutige Sinnfestschreibung erst außerhalb des Bildes durch den Betrachter erfolgen kann. 53 Die entscheidende Rolle des betrachtenden Subjekts wird auch in einer anderen Quelle formuliert, die Hilmar Frank erstmals auf Caspar David Friedrich bezogen hat. 51 Indes scheint das perspektivische, auf einen subjektiven Betrachter bezogene Sehen weit früher in das 18.…”

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Mimesis versus Fiktion

Heck¹

2015

Europäische Romantik

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Friedrich, Caspar David (1774–1840)

Cited by 3 publications

References 2 publications

An Interdisciplinary Literature Survey for Degrees of Freedom of Spatial Design

An Interdisciplinary Literature Survey for Degrees of Freedom of Spatial Design

Is it possible to estimate aerosol optical depth from historic colour paintings?

Mimesis versus Fiktion

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