Caspar David Friedrich (1774 – 1840) – Woman at a Window (Caroline Friedrich, the artist s wife, in the Dresden studio) Alte und Neue Nationalgalerie (Berlin)
Alte und Neue Nationalgalerie – Caspar David Friedrich (1774 - 1840) - Woman at a Window (Caroline Friedrich, the artist s wife, in the Dresden studio) 1822. 44x37
The composition presents a solitary figure positioned before a large window, dominating the visual field. The woman, seen from behind, is dressed in a muted green gown, her hair neatly arranged beneath a bonnet. She stands at a windowsill, seemingly absorbed in observing the landscape beyond. The room itself is sparsely furnished; the walls are rendered in somber tones of brown and ochre, emphasizing the figure’s isolation within this enclosed space. The window acts as a crucial framing device, dividing the interior world from an expansive exterior vista. Through the open panes, one discerns a hazy landscape – a suggestion of trees and what appears to be a ships mast rising against a pale sky. The light filtering through the window illuminates the woman’s back and casts subtle shadows across the room, contributing to a sense of quiet introspection. The artist deliberately avoids depicting the woman’s face, which directs the viewer’s attention towards her posture and the scene she contemplates. This anonymity invites projection; the figure becomes an archetype for contemplation, longing, or perhaps even melancholy. The open window can be interpreted as a symbolic portal – a gateway to something beyond the confines of domesticity and personal circumstance. The restrained palette and meticulous rendering of detail contribute to a mood of quiet solemnity. The composition’s emphasis on vertical lines – the walls, the window frame, the figures posture – reinforces a sense of restraint and formality. There is an underlying tension between the confinement suggested by the room and the expansive freedom implied by the landscape beyond, hinting at themes of aspiration, limitation, and the human desire for connection with something larger than oneself. The small objects on the windowsill – a bottle or jar – add a touch of domesticity but do not detract from the overall feeling of solitude and contemplation.
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Caspar David Friedrich (1774 - 1840) - Woman at a Window (Caroline Friedrich, the artist s wife, in the Dresden studio) — Alte und Neue Nationalgalerie (Berlin)
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The window acts as a crucial framing device, dividing the interior world from an expansive exterior vista. Through the open panes, one discerns a hazy landscape – a suggestion of trees and what appears to be a ships mast rising against a pale sky. The light filtering through the window illuminates the woman’s back and casts subtle shadows across the room, contributing to a sense of quiet introspection.
The artist deliberately avoids depicting the woman’s face, which directs the viewer’s attention towards her posture and the scene she contemplates. This anonymity invites projection; the figure becomes an archetype for contemplation, longing, or perhaps even melancholy. The open window can be interpreted as a symbolic portal – a gateway to something beyond the confines of domesticity and personal circumstance.
The restrained palette and meticulous rendering of detail contribute to a mood of quiet solemnity. The composition’s emphasis on vertical lines – the walls, the window frame, the figures posture – reinforces a sense of restraint and formality. There is an underlying tension between the confinement suggested by the room and the expansive freedom implied by the landscape beyond, hinting at themes of aspiration, limitation, and the human desire for connection with something larger than oneself. The small objects on the windowsill – a bottle or jar – add a touch of domesticity but do not detract from the overall feeling of solitude and contemplation.