Exploring a Work of Art - Essay Example

?Running Head: ROMANTICISM IN FRIEDRICH’S Romanticism in Friedrich’s “The Monk by the Sea” School Romanticism in Friedrich’s “The Monkby the Sea” An artist’s work is usually affected by the culture and beliefs of his time. This is what Caspar David Friedrich illustrates in his works. In his painting titled, “Monk by the Sea,” Friedrich employs Romantic themes and images such as darkness, emotions, and mysticism, thus reflecting the ideas and philosophy that evolved in the 18th Century, the Period of Romanticism. Produced in 1809, the oil on canvass ideally characterizes the Romantic Period with its exploration of nature, its power and depth. The subject, color, style, and theme successfully depict the main tenets common during the Romantic Age. A formalist analysis of the work may lead to a better understanding of the work and the message being conveyed by the artist. In addition, some research on what other people have to say about the work will help attain a complete analysis. Background of the Author Caspar David Friedrich was a German painter born to a poor family in 1774 in Greifswald, Germany. Despite poverty, the artist attended formal art study with artist Johann Gottfried Quistorp, who conducted art lessons mostly outdoors. This training and exposure to outdoor life helped Friedrich to master the local color and environment thus helped the artist master the art of landscape. According to Vaughan (65), Friedrich’s paintings, which generally reveal Romantic Age ideas, make him “one of the most important artists” during his time. “The Monk by the Sea,” an oil on canvass by Caspar David Friedrich in 1809. Analysis of Form A formalist analysis of the color, space, line and texture could lead to discovering the artist’s overall craftsmanship. Color can be considered the most important element in the painting because it is through color that the artist achieves meaning. Notably, contrast is applied with the use of white against the dark green background and the black suit of the monk. This contrast reflects the theme of confusion but considering that the white takes a larger space than the dark colors, taken by the white color, the theme of good versus evil may be implied as darkness may be associated with evil (Guerin 34). Minimalism, a characteristic of Romantic art, is applied with the minimal use of colors. Through minimalism, the artist achieves focus and emotionality. Adding in several colors would have made the painting look less gloomy, hence distorting the message. Importantly, Friedrich used dark green instead of blue for the sea. This may be a little questionable considering the usual color of the sea. Nevertheless, the dark emerald green color implies the depth and mystery of the sea. It could also mean unusualness in the life of the monk. Depicting the sea with great darkness, Friedrich made it a point to limit this part to at least one-eighths of the canvass. This allows the other images, such as the sky, the land, and the monk to take form, while it allows the purpose of showing the location of the monk at the same time. Specifically, the center clouds where a rich combination of colors is applied, capture the motion of light breaking into the darkness and at the same time the darkness eating up the light. Such drama found in nature suggests some Romantic thoughts that could likewise draw out sentimentality from the audience. Space is also another important element. The whole image can be divided horizontally into three different parts, namely, the sky, the sea, and the land. The great expanse of the sky, which covers at least “five-sixths of the canvass” (Web Gallery of Art, n.d.), attracts attention considering the light it sheds on the whole image. Through devoting much space to the sky, the artist achieves artistic drama, which is very typical of the Romantic Movement. On the issue of emphasis, Friedrich attains emphasis with the proper use of space as he allows a larger part of the canvass to be plain. If he made the figure of the monk very large, it would have been a portrait and the theme of hope and romanticism would have been lost. In addition, line helps to achieve emphasis as it divides the darkness and the light. The horizontal line that shows the borders of the sea clearly separates the darkness from light. If altered or unclear, the line would have made the contrast unclear. Specifically, the line on the upper part of the painting that introduces the blue color is not a clearly distinguished so as to avoid grabbing attention from the viewers. The horizontal lines that form the clouds above function to introduce heavenly light. Without the lines, the clouds will just be fluffy and realistic, hence lose mystery. With the horizontal lines introducing the light behind the clouds, the light now looks “heavenly” thus seemingly symbolize hope. The horizontal lines thus help to bring about the message of the work. Texture is achieved also with the use of contrasting colors. Friedrich is successful in bringing about texture with the lines and color contrast in the clouds. However, he may have failed to achieve texture with the sand. The monochromatic color of the sand typically makes it look plain and soft just like the clouds. Moreover, the sea has less texture because of the darkness that eats up the figures. Interpretational Perspectives a. Socio-cultural Critics praise Friedrich for his works. In particular, “Monk by the Sea” won admiration even from the 15-year-old King Frederick III Wilhelm of Prussia, whose purchase in 1810 declared the work as Friedrich’s masterpiece. Murray (338) claims that Friedrich’s landscapes direct “the viewer's gaze towards… metaphysical dimension.” This means that by looking at his painting, one will not help but feel sentimental and mystic, thus creating a feeling of being one with nature and being taken to a metaphysical state, supposedly divine or extraordinary. This is the socio-cultural essence of the work, to remind people of the metaphysical, of divine aspects of life, of the existence of conscience, of God, etc. The romantic themes and feelings implied in the work invite viewers to contemplate just like what the monk is doing in the painting. b. Symbolic A closer look at the work presents deeper meanings of the elements employed. The clouds above, from which comes out some heavenly light, could represent the divine power or God, who rules the life of the monk and those that are under the sky. The sea, dark and deep, could represent the feelings of the monk as he contemplates near it. The monk is nevertheless a human being who stands restless with nature, considering the expanse of the sea and the sky before him. Different interpretations of the sea may arise. In a description by Marie von Kugelgen, one of Friedrich’s followers, the lady wrote to her friend Friederike Volkmann: “A vast endless expanse of sky ... still, no wind, no moon, no storm - indeed a storm would have been some consolation for then one would at least see life and movement... On the unending sea there is no boat, no ship, not even a sea monster, [which] make the loneliness even more desolate and horrible” (Web Gallery of Art). The feelings evoked by the lonely sea suggest a negative view of the sea. On one hand, the sea could easily represent death as darkness is associated with death. On the other, the darkness that stretches in front of the monk may also present death and chaos. The dark green color is not ordinary because no matter how deep a sea is, it will not be as dark as emerald. Therefore, the green color may mean something more. According to Guerin (34), green could mean growth but used to portray darkness, it could mean something else. On the negative side, green could also mean corruption as it could represent money, or in layman’s term, green-mindedness. If we are to follow the second meaning, we may say that the darkness could be about sex. This is probable given the practice of celibacy of the monk. On one hand, the element of darkness suggests the artist’s tendency to contemplate on the darkness of nature and its mystery. On the other, it also suggests the themes of death and the obscure, which other painters similarly dealt with during this time (i.e., Goya, Delaroix). The monk, standing by the sea seems lost and forlorn, hence unable to see the great storm approaching. Such suggests bewilderment and complication of his thoughts. c. Thematic Overall, the work exudes minimalism, darkness and mystery. Minimalism best defines the style that the artist employed in his work. Basically, the image of the monk, which appears very minimal and solitary, helps achieve emphasis on the subject. The minimal use of colors for the whole background (i.e., black, white, green) simplifies the view and makes the work more romantic and mysterious, considering that a romanticist would see depth in simplicity, mystery in darkness. The technique also helps to establish the contrast between darkness and light, which is what the artist portrays. Specifically, the submission of darkness to the broad expanse of light or vice versa, narrows down the color and texture of the painting. This minimalism of color and structure thus allows the painter to present some characteristics pertinent to Romantic art. As mentioned, the purchase of King Frederick III Wilhelm helped the work gain much favor it deserved. Later on, Clemens Brentano’s description of the work suggests the acceptance of the work by the public. From the horrible feeling the work evoked in Kugelgen, Brentano notes the splendid, infinite loneliness of the monk by the shore (Held 84). This shows the public’s appreciation of the work, following its acceptance by the king. In Brentano’s critique, we may note the contemporary viewer’s appreciation of the work, despite the loneliness it presents. This also shows the ability of the viewer to relate to the monk’s experience, thus reflecting the positive attitude toward the theme of death, which other Romantic artists and writers demonstrate in their works.1 Further to the thematic analysis of the work, one can perceive the artist’s idea of communing with nature. The idea of the monk leaving the monastery in order to enjoy or contemplate the quietness and simplicity of nature strongly suggests a Romantic attitude. Whether thoughts of suicide crossed his mind is a probability because such was also relevant during the Romantic Period, taking from the works of literary authors such as John Keats and Emily Dickinson. Therefore, aside from portraying the greatness of nature, the view also shows that while the Romanticists regard nature as beautiful and powerful, they also view it with "sensuous nuance."2 The dark colors of the sky and the sea imply the coming of a destructive storm. This reflects Friedrich’s attempt to break the usual concept of a beautiful sky at midday. Anticipating the great storm, the audience may feel a certain concern for the monk, some anxiety that destructs quiet contemplation. Furthermore, the solitariness of the monk asserts the Romantic idea of individualism. Using the monk as subject reveals Friedrich’s attempt to explore on the thoughts and emotions of a common man. Normally looked upon for their wisdom and strength, the image of the monk amid the darkness and light somehow distracts the idea of perfection among the religious members of the society. This characteristic adheres to the Romantic Age by the artist’s “rejection of traditional values of social structure and religion” (Worldwide Art Resources Web Site, n.d.). Through the use of nature, the artist reveals the monk’s seeming confusion and loneliness as he casts view at the sea. Although the audience may have different perceptions of the experience that the monk undergoes (such as the sexual theme), the image nevertheless suggests the imperfection in the life of a monk, the loneliness that they undergo, and the need to take part in the usual activity of nature. Centering on a single hero, the work portrays the individual struggle of every monk. By making the monk turn his back from the audience, the artist portrays his contemplation, confusion and struggle. More importantly, however, this portrayal makes the monk anonymous, thus adding to the mystery and universality of the experience. Furthermore, the portrayal also invites viewers to relate to the idea of solitariness, even though they are not monks. Brentano’s description of the work reflects the artist’s successful attempt to make the meaning universal. According to the author, the scenery allows the viewers to relate to the scene, making one feel that “one has gone there, that one must return, that one would like to cross over…” This implies that despite the centrality of the work to the image of the monk, the audience can still relate to the contemplative experience that Friedrich depicts. The universality of the subject and the surroundings makes one long to reflect on a similar struggle the audience may have had at certain points in their lives. Another Romantic characteristic that the work reflects is the artist’s interest in the mystical aspect of life, which he portrays through the mysterious and vast skies and the dark sea. As Brentano claims, these evoke mixed feelings, "from the horror of one viewer, comes a grayness of the other" (Held 84). Such combination of emotions that the artist draws from the audience signifies its successful portrayal of the mystical motifs in life, such as the union between darkness and light, the Apocalyptic view of the skies, and the solitude that such a view creates in everyone who witnesses it. Showing the figure of the monk amid the chaotic tendency of nature suggests the mystic relation among God’s creation. Overall, the structure and theme that Friedrich employs in his work consistently reflect valuable characteristics of Romantic art. Up to now, the darkness, emotions, and mysticism that the artist projects through his choice of subject, color combination, tone and structure still provide the modern audience with the same experience that viewers of the painting had in 1809. d. Socio-Political Using a monk as a subject of art is very common in the earlier centuries but not so in the Romantic Period. As such, the choice of subject may also be a consideration for art critics. Given the universality of the themes of contemplation and individualism, the work could be seen as a political attack to religion. Tracing the history of Western civilization, one could note that the Romantic Era shortly followed the Enlightenment, the time when structures, including religion, were transformed. Having lived at that time, Friedrich may have had in mind a wish to transform religious structures. Standing in the midst of darkness and light, the monk faces a struggle, in which he should succeed by choosing light. Nevertheless, his seeming submission to it as he faces the sea could signify the imperfection that he or his religious congregation has. In relation to this, the artist implies a renewal of faith or system, to which monks or other religious people succumb to. Judgments and Conclusion Analyzing the masterpiece of Friedrich created different feelings in me. As I looked into the form, symbols, theme and socio-political issues, I felt the darkness, the pain and the mystery. First, I felt scared of the darkness. The view of the sea, which to me seemed like a great force that could drown the monk, created fear. Indeed, I agree with Kugelgen in her description that the view is “desolate and horrible” (Web Gallery of Art). Considering that the sea could represent something, I felt even more scared as I tried to decipher its meaning. In the process, I got more scared and thought that the sea could represent an evil mistake that the monk did in the past, which is haunting him now that he is a monk. The thought of this experience leads me to realize that the symbolism the artist used is too strong and compelling. Second, I felt pain. As I contemplated the experience of the monk, I pitied him for undergoing such a struggle. The life of a monk must be very lonesome. The struggle to be true to their faith and fight all temptations makes their life unbearable. For this reason, I believe the artist succeeds in portraying the subject. His style, which is characterized by contrasting colors and simplicity or minimalism adds to the overall effect to the audience. Third, I felt mystic. The mystery created by the gesture of the monk, the darkness of the sea and the texture of the skies makes me feel wanting for explanations. It drags me to unlock the mystery in his thoughts and the way nature or the whole creation works. The mystery also leads me to analyze the socio-political issues relating to religion and state, the monks’ place in history, and the relevance of moral uprightness in our times. Indeed, from the feelings and thoughts I experienced, the work is truly a masterpiece from the Romantic Period. References Art history: Romanticism (1800-1850). 2006. Worldwide Art Resources. 2 Nov 2013. Web. Friedrich, Caspar David. “The Monk by the Sea.” 2 Nov 2013. Oil on Canvas. Guerin, Wilfred, Earle Labor, Reeseman Morgan and John Willingham. “A Handbook of Critical Approaches to Literature.” NY: Oxford Univ Press, 2005. Print. Held, Heinz-Georg Held. “Romantik.” Cologne: Dumont, 2003; p. 84. Murray, Christopher John. “Encyclopedia of the Romantic Era, 1760-1850.” London: Taylor & Francis, 2004; p.338. “Romanticism.” Brooklyn University. Web. Vaughan, William. “Caspar David Friedrich, 1774-1840: Romantic Landscape Painting in Dresden - Catalogue of an Exhibition Held at the Tate Gallery.” London: Tate Gallery, 1972; p.65. Read More