Essay 5

 

Once in a while an artist comes along that defies the rules of art and even of their country to express the unique passion of art as a whole that each artist has. Caspar David Friedrich shows this especially well with his famous piece Two Men Contemplating the Moon. The painting is one of Friedrich’s most famous pieces of art. However it is obvious that this did not come unjustly. The piece has an abundance of detail, deeper meaning and breaks many rules. Rules that one wouldn’t automatically know unless they had lived in that time period, 1825-30, or knows anything about history. By understanding the environment the artist worked with others are able to know the hidden meaning in some simple objects. And with the power of observation one is bound to see something you wouldn’t see in a few second glance. All though this makes it sound like the piece is the epitome of the symbolism, which it is not, it does show some symbolism that is just more significant in quality rather than quantity.

 

One of the most common asked questions about the piece when one first sees it where is it taken place. One might think Germany or France just from the style of dress of the figures. However the mystery will solved upon further investigation of the figures. But for the landscape some are simply nonplussed by the fact that the landscape surrounding the figures are of the imagination origin. With this answered one would move on to the question of well who are the figures and where are they from. Well as it turns out upon further inspection that the two male figures are dressed in old nineteenth century German clothing.  This leaves the question of how is this significant. This detail is important because by knowing the style of dress the observer is able to come to the conclusion of when the painting is taken place. One may know that that type of dress was adopted in 1815 by radical students as an expression of opposition to the ultraconservative policies that were being enforced in the Napoleonic Wars. The patriotic Friedrich deliberately ignored the 1819 royal decree forbidding this practice and depicted figures in traditional costume until his death.

 

Upon first laying eyes on the painting, depending on the person, the eye goes directly to a certain area that appeals the most to them. To those with a certain liking of nature or of soft colors of that of grass would be enthralled with the overall landscape of the painting. The painting contains ninety percent landscape. Even though this is the brainchild of Friedrich’s imagination, it has a certain sense of an enchanting air that one would most often associate with fairies and fairy tales as the forest is of a viney and mossy feel. However to the person who prefers the bright area of a painting where it is obvious it is the center of the piece even though it is not directly in the center. The moon in the piece is place methodically placed to the slight right of the painting where it is painted in contrast from the soft and dark landscape. It is bright even as it is still considered to have the same color type as the rest of the painting. Lastly the two figures in the painting have their backs turned from the observer as they watch the moon sink into the horizon. Even with their backs turned historians were able to discover that Friedrich had actually painted himself into the masterpiece. While it is still unclear who is companion is it is still enough to satisfy the inquiring mind of art.

 

In the end it is painfully obvious that Two Men Contemplating the Moon is an exquisite art piece that many are entranced with an ultimately respects deeply. Friedrich defied many rules in his country to express the art is passionate about. It is then shown just how passionate he is through the intricate details of piece where the landscape is considered. Then there is the fact that Friedrich was able to draw the eyes to the many areas of the piece. Not only had he drawn the eyes to one place but he also made it so that it appealed to all the senses of the different eyes. It is done in such a way that is impossible to ever say that the painting is too busy. In fact to some it can even be considered perfection.