Lot Essay
Professor Börsch-Supan in a letter dated 24 February 1993 states that this picture is one of the last works which Friedrich painted before his stroke on 26 September 1835. Thereafter, he painted possibly only two other paintings.
Spaziergang in der Abenddämmerung is closely related to Nordlicht, formerly in the National Gallery, Berlin, which remained unfinished due to the painter's illness, and was destroyed in 1945, and Ostermorgen which was sold at Christie's, 4 May 1973, to Baron Thyssen, and remains in his collection (Börsch-Supan loc. cit. no. 408) (see Fig. I.). Figure studies relating the three works appear in a drawing in the Dresdner Kupferstichkabinett (Fig. II).
Without being a pendant, Ostermorgen is closely related to our picture, Spaziergang in der Abenddämmerung with regard to theme and ideas which Friedrich expressed in the 1830s. 'Eine Wort gibt das andere, wie das Sprichwort sagt, eine Erzählung die andere, und so auch ein Bild das andere'. Ostermorgen is a Spring picture, whilst our picture shows the sombre atmosphere of a day in late autumn, or at the beginning of winter; cold and misty.
In both pictures, the branches of the bare trees form a powerful barrier between the fore and backgrounds and the arch formed by the branches in the centre of each painting create a gateway in which the viewer can enter and follow 'the path' into the distance.
The prominent feature in Spaziergang in der Abenddämmerung is the Megalithic tomb which Friedrich had drawn as early as 1802, on 19 February, either near Gützkow or on the island of Rügen, now in the Wallraf- Richartz-Museum in Cologne (see Fig. III). This drawing was also used in 1807, for Hunengrab im Schnee in the Dresdner Gemäldegalerie, which Börsch-Supan describes as 'Ein Bild winterlicher Erstarrung in der Natur verbunden mit der Erinnerung an das Heidentum' (letter dated 24 February 1993). The Megalithic tomb repeatedly appears in Friedrich's oeuvre as a symbol of death, a definite end, in contrast to the Christian hope of resurrection. There is a later sepia drawing entitled 'Megalithic Grave near Gützkow', circa 1837, now in the Royal Library, Copenhagen, (see Fig. IV), which is similar to the Megalithic Tomb in Spaziergang in der Abenddämmerung.
The figure entering the stage of the painting, wearing a long coat and the old German Barrett, an acknowledgement of the philosophical movements of the patriotic movement of 1813, is possibly the artist himself. Friedrich often portrayed himself in his work and the figure is comparable to Mönch am Meer of 1810 (Schloss Charlottenburg, Berlin) and with the foreground figure of Lebensstufen of 1835 (Leipzig). The fur collar corresponds also with three later portraits of the painter; a drawing by Carl Vogel von Vogelstein, and two paintings of Johann Karl Bähr (1836) and Carolina Bardua (1839) (see Fig. V).
By approaching the Megalithic Tomb the protagonist is offered two view points, according to Professor Börsch-Supan: The near end of life (Friedrich's?) on one hand, but by looking into the distance, past the bare trees of winter and hence the nearing of the end of life, there is hope, with its open space offering a new freedom. This is reiterated in the crescent of the growing moon, for Friedrich always a symbol of Christ, in its reflection of the divine sunlight, illuminating the forthcoming night of Death. (The moon's full contour is only indicated, as is typical of Friedrich, c.f. Abtei im Eichwald, 1809, Schloss Charlottenburg, Berlin). Adjacent to the moon is the evening star, which is also the morning star, promising a new day and thus symbolising life after death.
In Spaziergang in der Abenddämmerung, Friedrich follows his usual pattern of giving consolation in the face of death, by pointing to nature, in which he sees the revelation of Christian beliefs. What seems to be at first sight a gloomy image, demands us to think beyond the present state of mind and to rely upon inevitable changes in the future.
We are grateful to Professor Börsch-Supan for his assistance in the cataloguing of this lot.
Estimate on request
Spaziergang in der Abenddämmerung is closely related to Nordlicht, formerly in the National Gallery, Berlin, which remained unfinished due to the painter's illness, and was destroyed in 1945, and Ostermorgen which was sold at Christie's, 4 May 1973, to Baron Thyssen, and remains in his collection (Börsch-Supan loc. cit. no. 408) (see Fig. I.). Figure studies relating the three works appear in a drawing in the Dresdner Kupferstichkabinett (Fig. II).
Without being a pendant, Ostermorgen is closely related to our picture, Spaziergang in der Abenddämmerung with regard to theme and ideas which Friedrich expressed in the 1830s. 'Eine Wort gibt das andere, wie das Sprichwort sagt, eine Erzählung die andere, und so auch ein Bild das andere'. Ostermorgen is a Spring picture, whilst our picture shows the sombre atmosphere of a day in late autumn, or at the beginning of winter; cold and misty.
In both pictures, the branches of the bare trees form a powerful barrier between the fore and backgrounds and the arch formed by the branches in the centre of each painting create a gateway in which the viewer can enter and follow 'the path' into the distance.
The prominent feature in Spaziergang in der Abenddämmerung is the Megalithic tomb which Friedrich had drawn as early as 1802, on 19 February, either near Gützkow or on the island of Rügen, now in the Wallraf- Richartz-Museum in Cologne (see Fig. III). This drawing was also used in 1807, for Hunengrab im Schnee in the Dresdner Gemäldegalerie, which Börsch-Supan describes as 'Ein Bild winterlicher Erstarrung in der Natur verbunden mit der Erinnerung an das Heidentum' (letter dated 24 February 1993). The Megalithic tomb repeatedly appears in Friedrich's oeuvre as a symbol of death, a definite end, in contrast to the Christian hope of resurrection. There is a later sepia drawing entitled 'Megalithic Grave near Gützkow', circa 1837, now in the Royal Library, Copenhagen, (see Fig. IV), which is similar to the Megalithic Tomb in Spaziergang in der Abenddämmerung.
The figure entering the stage of the painting, wearing a long coat and the old German Barrett, an acknowledgement of the philosophical movements of the patriotic movement of 1813, is possibly the artist himself. Friedrich often portrayed himself in his work and the figure is comparable to Mönch am Meer of 1810 (Schloss Charlottenburg, Berlin) and with the foreground figure of Lebensstufen of 1835 (Leipzig). The fur collar corresponds also with three later portraits of the painter; a drawing by Carl Vogel von Vogelstein, and two paintings of Johann Karl Bähr (1836) and Carolina Bardua (1839) (see Fig. V).
By approaching the Megalithic Tomb the protagonist is offered two view points, according to Professor Börsch-Supan: The near end of life (Friedrich's?) on one hand, but by looking into the distance, past the bare trees of winter and hence the nearing of the end of life, there is hope, with its open space offering a new freedom. This is reiterated in the crescent of the growing moon, for Friedrich always a symbol of Christ, in its reflection of the divine sunlight, illuminating the forthcoming night of Death. (The moon's full contour is only indicated, as is typical of Friedrich, c.f. Abtei im Eichwald, 1809, Schloss Charlottenburg, Berlin). Adjacent to the moon is the evening star, which is also the morning star, promising a new day and thus symbolising life after death.
In Spaziergang in der Abenddämmerung, Friedrich follows his usual pattern of giving consolation in the face of death, by pointing to nature, in which he sees the revelation of Christian beliefs. What seems to be at first sight a gloomy image, demands us to think beyond the present state of mind and to rely upon inevitable changes in the future.
We are grateful to Professor Börsch-Supan for his assistance in the cataloguing of this lot.
Estimate on request