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ridges, perhaps not unlike the ones the wanderer himself stands upon, jut out from the mass. Through the wreaths of fog, forests of trees can be perceived atop these escarpments. In the far distance, faded mountains rise in the left, gently leveling off into lowland plains in the right. Beyond here, the pervading fog stretches out indefinitely, eventually commingling with the horizon and becoming indistinguishable from the cloud-filled sky.
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269:, of greater mysteries and potential beyond the typical. Friedrich stated his ideas in regards to this, "The artist should paint not only what he has in front of him but also what he sees inside himself." On mist, he wrote "When a region cloaks itself in mist, it appears larger and more sublime, elevating the imagination, and rousing the expectations like a veiled girl."
454:, which fit a humble sort of Christianity that found beauty in nature. This corresponds with Luther's writing that all the great cathedrals and pompous buildings of the Catholic Church of his era could be torn down with little loss. To Friedrich's interpretation of Lutheranism, true religion was found in nature, simplicity, and individual people, all elements of
261:. While the identity of the man is uncertain, some have suggested it is a self-portrait of the artist himself, pointing to similarities in appearance, such as the red hair, and for this reason the painting has been interpreted as an emblem of self-reflection or contemplation of life's path. The landscape of
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and
Friedrich's work in general were not immediately regarded as masterpieces. His fame waned as he grew older; he wrote that the art judges of his day did not appreciate winter landscapes and mist enough. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s.
488:(English: A fog arose from the Earth and moistened the entire land). Carus argued the fog was God's assistant in the Creation, turning barren mountains into verdant forests. Koerner hypothesizes that Carus and Friedrich could have discussed the matter in the course of their friendship. He sees that
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In the foreground, a man stands upon a rocky precipice with his back to the viewer. He is wrapped in a dark green overcoat, and grips a walking stick in his right hand. His hair caught in a wind, the wanderer gazes out on a landscape covered in a thick sea of fog. In the middle ground, several other
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argues the painting had significant influence on how mountain climbing has been viewed in the
Western world since the Romantic era, calling it the "archetypical image of the mountain-climbing visionary". He admires its power in representing the concept that standing on mountain tops is something to
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became particularly popular, appearing as an example of "popular art" as well as high culture on books and other works. The provenance of the artwork after its creation is unknown, but by 1939, it was on display in the gallery of
Wilhelm August Luz in Berlin, and in 1970, it was acquired by the
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made in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.
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Traditional art standards hold that if people are present in a scene, they are turned toward the viewer or in profile. Exceptions exist but are generally for minor characters in a crowded scene. While
Friedrich was not the first artist to use a
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is generally given as 1818, although some sources indicate 1817. The provenance of the painting in the 19th century is unclear, but it came to the ownership of the gallery of
Wilhelm August Luz in Berlin in 1939. It was then apparently sold to
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is detailed, it does not lose focus by including an array of geographic features, other people, or buildings; the work stays centered on the mountains and the mist, and lets the viewer's eye explore it at its own pace.
429:. Nationalists such as Friedrich thus identified themselves with restoring a lost national greatness. The art historian Norbert Wolf, following Koerner and others, has stated that the figure in
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is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of
Friedrich's German liberal and nationalist feeling.
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and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the
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The romantic movement. Fifth exhibition to celebrate the tenth anniversary of the
Council of Europe, 10 July to 27 September 1959, the Tate Gallery and the Arts Council Gallery, London
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Friedrich was an outspoken supporter of German liberal and nationalist feeling. The old German princely states were disrupted and saw their authority compromised in the wake of the
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was generally considered to invite viewers "inside" the painting and encourage the viewer to consider the perspective from the depicted mysterious person whose face cannot be seen.
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and
Friedrich's work in general were not immediately regarded as masterpieces. Friedrich's reputation improved in the early 20th century, and in particular during the 1970s;
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could well be depicting a
Creation-esque scene: the figure views a land of unknown possibility, hidden in the mist, emerging from the heart as an emanation from the "I".
190:, sketched in the field but in accordance with his usual practice, rearranged by Friedrich himself in the studio for the painting. In the background to the right is the
390:, and Magritte took such elements even further in his work. The background of the picture seemingly plunges into the foreground, with the depth between them unclear.
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Friedrich criticized other artists of his day as painting overfilled "curiosity shops" that covered every part of the canvas with new features. While
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Idrobo, Carlos (November 2012). "He Who Is
Leaving ... The Figure of the Wanderer in Nietzsche's Also sprach Zarathustra and Caspar David Friedrich's
1953:
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hypothesizes that the subject looking upon a canvas of open possibility, ready to make a choice and find what awaits him, appeals to modern viewers.
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has appeared on the cover of numerous books, T-shirts, CDs, coffee mugs, and so on, becoming a staple of "popular art" as well as high culture.
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632:
Exhibition Catalogue: Caspar David Friedrich. Die Underling der Romantic in Essen ind Hamburg, Firmer Verlag, München (December 2006), page 267
316:, he used such figures turned away from the viewer considerably more frequently and persistently than other artists. Friedrich's use of the
290:, which is more certain about the course of action required, perhaps related to the differences in German and French nationalism of the era.
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223:, a German lawyer, before returning to the Luz gallery. The painting bounced between private collections before being acquired by the
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in 1817, Friedrich marrying Caroline Brommer in January 1818, and the couple going on a honeymoon back to Friedrich's hometown of
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outfit, a political statement in the era when the painting was created. Other scholars have described the figure's clothing as a
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became particularly popular: used as an inspiration for a variety of works since, and not merely known among art scholars.
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Friedrich left the artists he criticized unnamed; Werner Hofmann suggests that he might have been attacking
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Notable events in Friedrich's life in 1817 and 1818 include him striking up a friendship with the scientist
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wrote that "It is harder to imagine this landscape without a figure than it is in any other painting."
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418:. One of the ways German liberals identified themselves and showed their support was a fashion trend:
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448:, if at all. Friedrich's religious side is seen in other paintings of his, such as the 1810 painting
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was more open-ended and questioning than typical Romantic works. He compares Friedrich's searching
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in art due to the subject's prominence. The figure changes the sense and focus of the painting.
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458:. Another potential link was how Friedrich met and befriended the scientist and fellow painter
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1012:. Translated by Whittall, Mary. London: Thames & Hudson. pp. 9–13, 245–251, 260.
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864:"Wanderer Above the Sea of Fog, Caspar David Friedrich (Ca. 1817)." Scholastic Art
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425:, a restoration of a heroic unified German past of the 1500s–1600s and the age of
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Wolf, Norbert. Caspar David Friedrich: The Painter of Stillness. 2012. pp. 56-57
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or the Kaltenberg. The group of rocks in front of it represent the Gamrig near
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94.8 cm × 74.8 cm (37.3 in × 29.4 in)
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961:. Translated by Stockman, Russel. New York: Harry N. Abrams Inc. p. 41.
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Such alleged German unity in the 1500s was entirely imaginary, to be clear.
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847:"A Closer Look at Wanderer Above the Sea of Fog by Caspar David Friedrich"
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924:. New Haven: Yale University Press. p. 162–163; 179–194; 242-244.
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Two Men Contemplating the Moon; Man and Woman Contemplating the Moon
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Differences still exist between Friedrich and other Romanticists.
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194:. The mountain in the background to the left could be either the
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257:, a broad artistic and literary movement that emerged after the
227:(Hamburg Art Hall) in 1970, where it has been on display since.
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be admired, an idea which barely existed in earlier centuries.
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in 1817 just before he would have been preparing and painting
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While Friedrich was respected in German and Russian circles,
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Aber ein Nebel ging auf von der Erde und feuchtete alles Land
202:. The rocks on which the traveller stands are a group on the
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While Friedrich was respected in German and Russian circles,
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A matter less clear is how Friedrich's Lutheranism affected
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740:. Translated by Elliot, Fiona. Prestel. pp. 202–206.
944:
Borsch-Supan 2005, p. 116. Cited in Grave 2012, p. 203.
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The painting is composed of various elements from the
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The Landscape of History: How Historians Map the Past
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Wanderer über dem Nebelmeer (Caspar David Friedrich)
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notes that Carus wrote on a particular verse in the
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Caspar David Friedrich and the Subject of Landscape
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The Bells in Their Silence: Travels Through Germany
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1055:Mountains of the Mind: A History of a Fascination
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767:Caspar David Friedrich und die böhmischen Berge
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138:(German: Rear-facing figure) in his paintings;
284:who does not know the future with Delacroix's
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1514:Boundaries of Time: Caspar David Friedrich
1428:Ruins of Eldena Abbey in the Riesengebirge
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342:Other works of Friedrich's comparable to
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539:List of works by Caspar David Friedrich
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616:Arts Council of Great Britain (1959).
410:and the abolition of the conservative
16:Oil painting by Caspar David Friedrich
3993:Paintings in the Hamburger Kunsthalle
3904:Romanticism and the French Revolution
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1506:Caspar David Friedrich in his Studio
1087:Wanderer über dem Nebelmeer, UM 1817
795:Wanderer über dem Nebelmeer, UM 1817
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3988:Paintings by Caspar David Friedrich
825:. The Creative Company. p. 7.
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474:: Luther translated the account of
13:
120:It has been considered one of the
14:
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1080:
132:. Friedrich was a common user of
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622:. Arts Council of Great Britain.
563:Mountaineer in a Misty Landscape
1564:
1471:The Woman with the Spider's Web
1412:The Temple of Juno in Agrigento
1236:Mountain Landscape with Rainbow
1106:Der Wanderer über dem Nebelmeer
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569:Der Wanderer über dem Nebelmeer
32:Der Wanderer über dem Nebelmeer
1479:Woman with a Raven at an Abyss
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688:Gorra, Michael Edward (2004).
626:
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359:Two Men by the Sea at Moonrise
245:
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1:
3927:Wanderer above the Sea of Fog
1284:Wanderer above the Sea of Fog
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514:Wanderer above the Sea of Fog
431:Wanderer above the Sea of Fog
322:Wanderer above the Sea of Fog
251:Wanderer above the Sea of Fog
147:Wanderer above the Sea of Fog
140:Wanderer above the Sea of Fog
105:Wanderer above the Sea of Fog
60:
22:Wanderer above the Sea of Fog
1244:Morning on the Riesengebirge
507:
7:
1252:The Tombs of the Old Heroes
819:Gunderson, Jessica (2008).
532:
324:is perhaps the most famous
265:is considered to evoke the
253:is closely associated with
10:
4009:
3844:Coleridge's theory of life
698:Princeton University Press
652:"The Landscape of History"
287:Liberty Leading the People
234:and the Norwegian painter
3936:
3899:Romanticism and economics
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2055:
1977:
1914:Manuel Antônio de Almeida
1896:
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1404:Ships in Harbour, Evening
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1122:10.1515/niet.2012.41.1.78
1096:Sketches for the painting
898:Hofmann 2000, pp. 258–260
87:
79:
69:
56:
46:
37:
26:
21:
1679:German historical school
1228:The Abbey in the Oakwood
1089:, official page by the
736:Grave, Johannes (2012).
544:
214:The date of creation of
180:Elbe Sandstone Mountains
2326:Józef Ignacy Kraszewski
1487:Boy Sleeping on a Grave
886:Hofmann 2000, pp. 10–12
662:Oxford University Press
559:Wanderer above the Mist
476:God's creation of Earth
378:was a precursor to the
3909:Romanticism in science
3864:Middle Ages in history
3859:List of Romantic poets
2571:Josiah Gilbert Holland
1436:Neubrandenburg Burning
1308:The Port of Greifswald
1212:Cross in the Mountains
1180:Caspar David Friedrich
1010:Caspar David Friedrich
959:Caspar David Friedrich
738:Caspar David Friedrich
568:
565:, and other variants;
484:
451:Cross in the Mountains
423:("Old German") outfits
414:and leadership of the
408:Unification of Germany
114:Caspar David Friedrich
51:Caspar David Friedrich
3879:Romantic epistemology
3869:Opium and Romanticism
2438:Stojadinović-Srpkinja
1664:Counter-Enlightenment
1509:(1811/1819 paintings)
1292:Chalk Cliffs on Rügen
3943:Age of Enlightenment
1585:England (literature)
1300:Seaside by Moonlight
1145:at Wikimedia Commons
1091:Hamburger Kunsthalle
851:drawpaintacademy.com
809:Hofmann 2000, p. 286
799:Hamburger Kunsthalle
416:German Confederation
259:Age of Enlightenment
236:Johan Christian Dahl
225:Hamburger Kunsthalle
210:Creation and history
156:Hamburger Kunsthalle
92:Hamburger Kunsthalle
3894:Romantic psychology
1689:Hudson River School
1633:Sweden (literature)
1618:Russia (literature)
1420:The Great Enclosure
1348:Moonrise by the Sea
1220:The Monk by the Sea
1132:. (Online) (Print).
981:Hofmann 2000, p. 20
918:Koerner, Joseph Leo
877:Hofmann 2000, p. 33
853:. 10 February 2020.
557:Also translated as
433:wears just such an
404:German nationalists
330:Helmut Börsch-Supan
1879:White Mountain art
1820:Historical fiction
1628:Spain (literature)
1452:The Stages of Life
1268:Two Men by the Sea
1050:Macfarlane, Robert
648:Gaddis, John Lewis
406:advocated for the
394:Political backdrop
110:German Romanticist
3970:
3969:
3884:Romantic medicine
3854:List of romantics
3293:
3292:
2944:Felix Mendelssohn
2939:Fanny Mendelssohn
2750:
2749:
2464:Rosalía de Castro
2402:Soares dos Passos
1750:Transcendentalism
1714:Nazarene movement
1674:Düsseldorf School
1532:
1531:
1522:Zauber der Stille
1396:Cabin in the Snow
1364:Woman at a Window
1356:The Tree of Crows
1332:River Bank in Fog
1141:Media related to
1110:Nietzsche-Studien
1069:978-1-84708-039-4
968:978-0-8109-3327-9
832:978-1-58341-613-6
781:978-3-17-009406-2
772:Kohlhammer Verlag
762:Hoch, Karl-Ludwig
747:978-3-7913-4628-1
584:Joseph Anton Koch
501:Robert Macfarlane
496:Mountain climbing
460:Carl Gustav Carus
353:Woman at a Window
242:for weeks after.
232:Carl Gustav Carus
126:Romantic movement
108:is a painting by
101:
100:
4000:
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3919:Evolution theory
2761:
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1894:
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1755:Ukrainian school
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1525:(2023 biography)
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664:. pp. 1–2.
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466:. Art historian
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305:and similar work
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3889:Romantic poetry
3874:Romantic ballet
3849:German idealism
3832:
3798:Lacoue-Labarthe
3724:
3471:
3289:
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3188:Rimsky-Korsakov
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2243:Maria Edgeworth
2179:
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1862:Romantic genius
1792:Gesamtkunstwerk
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1730:Sturm und Drang
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1340:The Lonely Tree
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1062:. p. 157.
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774:. p. 215.
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1826:Mal du siècle
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1214:
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1209:
1206:
1205:
1204:Cairn in Snow
1201:
1200:
1198:
1194:
1190:
1189:List of works
1185:
1181:
1174:
1169:
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1162:
1160:
1155:
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1151:
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1139:
1135:
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1123:
1119:
1116:(1): 78–103.
1115:
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1071:
1065:
1061:
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1034:
1029:
1021:
1019:0-500-09295-8
1015:
1011:
1007:
1001:
999:
997:
987:
978:
970:
964:
960:
956:
950:
941:
933:
931:0-300-06547-7
927:
923:
919:
913:
911:
909:
907:
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895:
893:
883:
874:
872:
865:
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783:
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769:
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749:
743:
739:
732:
730:
721:
717:
713:
711:0-691-11765-9
707:
703:
699:
694:
693:
684:
682:
673:
671:0-19-517157-8
667:
663:
659:
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629:
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608:
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550:
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537:
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493:
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481:
477:
473:
469:
465:
461:
457:
453:
452:
447:
442:
440:
436:
432:
428:
427:Martin Luther
424:
422:
417:
413:
409:
405:
401:
391:
389:
385:
384:René Magritte
381:
377:
373:
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137:
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131:
127:
123:
118:
115:
111:
107:
106:
97:
93:
90:
86:
82:
78:
75:
74:Oil on canvas
72:
68:
59:
55:
52:
49:
45:
41:
36:
33:
29:
25:
20:
3955:
3948:
3941:
3926:
3925:
3645:Porto-Alegre
3299:Philosophers
3183:Rachmaninoff
2632:Chavchavadze
2622:Baratashvili
2382:João de Deus
2351:Wincenty Pol
2143:Küchelbecker
1871:
1837:Noble savage
1824:
1790:
1765:Wallenrodism
1742:
1728:
1659:Coppet group
1593:(literature)
1520:
1512:
1504:
1485:
1477:
1469:
1450:
1442:
1434:
1426:
1418:
1410:
1402:
1394:
1388:The Watzmann
1386:
1378:
1370:
1362:
1354:
1346:
1338:
1330:
1322:
1314:
1306:
1298:
1290:
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1282:
1274:
1266:
1258:
1250:
1242:
1234:
1226:
1218:
1210:
1202:
1113:
1109:
1105:
1060:Granta Books
1054:
1044:
1037:Luther Bible
1028:
1009:
986:
977:
958:
949:
940:
921:
882:
859:
850:
841:
821:
814:
805:
790:
766:
756:
737:
691:
656:
628:
618:
611:
591:
578:
566:
562:
558:
553:
522:
518:
513:
511:
499:
489:
472:Luther Bible
463:
455:
449:
445:
443:
435:Altdeutsches
434:
430:
420:
397:
387:
375:
374:argues that
370:
363:
357:
351:
347:
346:with such a
343:
341:
325:
321:
317:
311:
308:
302:
294:
292:
285:
281:
277:
271:
262:
250:
249:
229:
215:
213:
177:
173:
150:
146:
144:
139:
133:
122:masterpieces
119:
104:
103:
102:
31:
3635:Michałowski
3467:Wackenroder
3432:F. Schlegel
3427:A. Schlegel
3203:Tchaikovsky
3092:Bortkiewicz
2964:R. Schumann
2959:C. Schumann
2924:Kalkbrenner
2893:Saint-Saëns
2198:Anne Brontë
2083:Eichendorff
2068:B. v. Arnim
2063:A. v. Arnim
1873:Weltschmerz
1832:Medievalism
1781:Blue flower
1709:Nationalist
1654:Bohemianism
1566:Romanticism
1517:(1986 film)
1447:(1830–1835)
1439:(1830–1835)
1431:(1830–1834)
1415:(1828–1830)
1311:(1818–1820)
1223:(1808–1810)
1099:(in German)
1033:Genesis 2:6
822:Romanticism
770:. Dresden:
700:. pp.
421:Altdeutsche
348:Rückenfigur
333: [
326:Rückenfigur
318:Rückenfigur
313:Rückenfigur
303:Rückenfigur
276:wrote that
255:Romanticism
246:Romanticism
221:Ernst Henke
204:Kaiserkrone
192:Zirkelstein
170:Description
135:Rückenfigur
64: 1818
3977:Categories
3510:Chassériau
3485:Aivazovsky
3193:Rubinstein
3178:Mussorgsky
3127:Wieniawski
3112:Paderewski
2954:Moszkowski
2737:Vörösmarty
2727:Shevchenko
2581:Longfellow
2505:Batyushkov
2500:Baratynsky
2469:Espronceda
2336:Mickiewicz
2331:Malczewski
2298:Wordsworth
2283:M. Shelley
2238:de Quincey
2103:Günderrode
1987:Baudelaire
1867:Wanderlust
1704:Lake Poets
1276:The Gazebo
720:j.ctt7sr5d
603:References
441:uniform.
380:surrealism
240:Greifswald
80:Dimensions
3950:Modernism
3610:Kiprensky
3570:Géricault
3555:Friedrich
3545:Delacroix
3520:Constable
3500:Bonington
3490:Bierstadt
3442:Senancour
3417:Schelling
3372:Lamennais
3367:Khomyakov
3332:Coleridge
3327:Chaadayev
3234:Stanković
3229:Mokranjac
3148:Balakirev
3107:Moniuszko
3056:Donizetti
3051:Cherubini
2949:Meyerbeer
2934:Marschner
2909:Beethoven
2822:Moscheles
2756:Musicians
2742:Wergeland
2707:Orbeliani
2662:Grundtvig
2566:Hawthorne
2535:Zhukovsky
2530:Vyazemsky
2515:Lermontov
2474:Gutiérrez
2433:Radičević
2397:Herculano
2321:Krasiński
2263:Radcliffe
2233:Coleridge
2208:E. Brontë
2203:C. Brontë
2133:Jean Paul
2128:Hölderlin
2017:Lamartine
1954:Magalhães
1944:Guimarães
1852:Pantheism
1842:Nostalgia
1694:Indianism
1642:Movements
1573:Countries
1490:(c. 1803)
1482:(c. 1803)
1391:(1824–25)
1383:(1823–24)
1263:(c. 1816)
1247:(1810–11)
1239:(1809–10)
1231:(1809–10)
1196:Paintings
1130:155017448
957:(1995) .
920:(1995) .
573:in German
508:Reception
196:Rosenberg
3962:Category
3778:Dahlhaus
3763:Blanning
3730:Scholars
3700:Tropinin
3695:Tidemand
3685:Stattler
3680:Scheffer
3580:Głowacki
3550:Edelfelt
3505:Bryullov
3447:Snellman
3422:Schiller
3412:Rousseau
3392:Michelet
3337:Constant
3307:Belinsky
3280:Sibelius
3224:Konjović
3198:Scriabin
3168:Lyapunov
3102:Lipiński
3071:Spontini
3061:Paganini
3005:Goldmark
2796:Thalberg
2791:Schubert
2771:Bruckner
2732:Topelius
2722:Runeberg
2712:Prešeren
2682:Leopardi
2647:Frashëri
2637:Eminescu
2617:Andersen
2525:Tyutchev
2510:Karamzin
2484:Zorrilla
2479:Saavedra
2377:Castilho
2365:Portugal
2356:Słowacki
2258:Polidori
2188:Barbauld
2123:Hoffmann
2078:Brentano
1992:Bertrand
1813:Romantic
1649:Ancients
1623:Scotland
1052:(2003).
1008:(2000).
764:(1987).
650:(2004).
533:See also
523:Wanderer
519:Wanderer
490:Wanderer
464:Wanderer
456:Wanderer
446:Wanderer
388:Wanderer
376:Wanderer
344:Wanderer
295:Wanderer
282:Wanderer
278:Wanderer
263:Wanderer
216:Wanderer
151:Wanderer
88:Location
3803:Lovejoy
3738:Abraham
3660:Richard
3650:Préault
3575:Girodet
3457:Thoreau
3402:Novalis
3387:Mazzini
3382:Maistre
3357:Hazlitt
3342:Emerson
3322:Carlyle
3312:Berchet
3255:Berwald
3250:Bennett
3219:Hristić
3173:Medtner
3153:Borodin
3143:Arensky
3066:Rossini
3041:Bellini
3020:Joachim
2993:Hungary
2974:Strauss
2902:Germany
2868:Berlioz
2837:Voříšek
2832:Smetana
2810:Czechia
2764:Austria
2697:Maturin
2692:Manzoni
2667:Heliade
2642:Foscolo
2612:Alfieri
2607:Abovian
2561:Emerson
2520:Pushkin
2459:Bécquer
2392:Garrett
2346:Potocki
2293:Southey
2253:Maturin
2223:Carlyle
2180:Britain
2153:Novalis
2108:Gutzkow
2056:Germany
2022:Mérimée
2007:Gautier
1934:Barreto
1929:Azevedo
1909:Alencar
1889:Writers
1808:Byronic
1744:Purismo
1598:Germany
1580:Denmark
1498:Related
1324:Evening
1319:(1820s)
482:2:6 as
478:in the
267:sublime
188:Bohemia
164:Germany
160:Hamburg
130:sublime
124:of the
112:artist
96:Hamburg
3828:Wellek
3808:de Man
3793:Janion
3783:Ferber
3758:Berlin
3753:Beiser
3748:Barzun
3743:Abrams
3720:Wiertz
3705:Turner
3655:Révoil
3640:Palmer
3630:Martin
3625:Leutze
3600:Janmot
3560:Fuseli
3515:Church
3407:Quinet
3397:Müller
3352:Goethe
3347:Fichte
3270:Franck
3212:Serbia
3163:Glinka
3136:Russia
3122:Tausig
3117:Stolpe
3097:Chopin
3085:Poland
3046:Busoni
3010:Heller
2979:Wagner
2914:Brahms
2888:Onslow
2878:Halévy
2846:France
2827:Reicha
2817:Dvořák
2786:Mahler
2781:Hummel
2776:Czerny
2672:Isaacs
2652:Geijer
2586:Lowell
2576:Irving
2556:Cooper
2551:Bryant
2493:Russia
2428:Njegoš
2423:Kostić
2418:Jakšić
2411:Serbia
2341:Norwid
2316:Fredro
2308:Poland
2278:Seward
2168:Uhland
2158:Schwab
2148:Mörike
2138:Kleist
2093:Goethe
2088:Fouqué
2037:Nodier
2032:Nerval
2027:Musset
1979:France
1969:Varela
1964:Taunay
1949:Macedo
1897:Brazil
1847:Ossian
1774:Themes
1613:Poland
1608:Norway
1590:France
1474:(1803)
1463:Prints
1455:(1835)
1444:Sunset
1423:(1831)
1407:(1828)
1399:(1827)
1375:(1823)
1367:(1822)
1359:(1822)
1351:(1822)
1343:(1822)
1335:(1821)
1327:(1821)
1303:(1818)
1295:(1818)
1287:(1818)
1279:(1818)
1271:(1817)
1255:(1812)
1215:(1808)
1207:(1807)
1128:
1066:
1016:
965:
928:
829:
778:
744:
718:
708:
668:
362:, and
200:Rathen
184:Saxony
70:Medium
47:Artist
28:German
3914:Bacon
3823:Rosen
3818:Ricks
3813:Nancy
3773:Blume
3768:Bloom
3690:Stroy
3675:Saleh
3670:Runge
3620:Lampi
3605:Jones
3595:Hayez
3530:Corot
3495:Blake
3462:Tieck
3452:Staël
3377:Larra
3362:Hegel
3317:Burke
3275:Grieg
3265:Field
3260:Elgar
3243:Other
3076:Verdi
3034:Italy
3025:Liszt
3015:Hubay
3000:Erkel
2984:Weber
2969:Spohr
2929:Loewe
2919:Bruch
2883:Méhul
2873:Fauré
2863:Auber
2858:Alkan
2717:Raffi
2687:Mácha
2677:Lenau
2627:Botev
2600:Other
2452:Spain
2387:Dinis
2273:Scott
2248:Keats
2228:Clare
2218:Byron
2213:Burns
2193:Blake
2178:Great
2163:Tieck
2118:Heine
2113:Hauff
2047:Vigny
2042:Staël
2002:Dumas
1924:Assis
1919:Alves
1904:Abreu
1857:Rhine
1760:Ultra
1603:Japan
1126:S2CID
716:JSTOR
704:-12.
545:Notes
337:]
3788:Frye
3715:Ward
3710:Veit
3665:Rude
3615:Koch
3590:Gude
3585:Goya
3535:Dahl
3525:Cole
2853:Adam
2801:Wolf
2544:U.S.
2443:Zmaj
2073:Beer
2012:Hugo
1959:Reis
1939:Dias
1803:Hero
1738:Post
1699:Jena
1669:Dark
1064:ISBN
1014:ISBN
963:ISBN
926:ISBN
827:ISBN
776:ISBN
742:ISBN
706:ISBN
666:ISBN
186:and
57:Year
3285:Sor
3158:Cui
2591:Poe
1724:Pre
1719:Neo
1118:doi
1108:".
382:of
182:in
158:in
3979::
3940:←
1124:.
1114:41
1112:.
1058:.
1035:,
995:^
903:^
891:^
870:^
849:.
797:,
728:^
714:.
702:11
696:.
680:^
660:.
654:.
637:^
561:,
368:.
356:,
335:de
206:.
162:,
94:,
61:c.
30::
3953:→
1558:e
1551:t
1544:v
1172:e
1165:t
1158:v
1120::
1072:.
1039:.
1022:.
971:.
934:.
835:.
784:.
750:.
722:.
674:.
586:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
