Painting ID:: 62444
The Council in Trident 1778 Fresco Library of the College, Eger Author: KRACKER, Johann Lucas Title: The Council in Trident (detail) , 1751-1800 , Austrian Form: painting , religious new21/Kracker, Johann Lucas-987737.jpg
Painting ID:: 62502
Brunhilde Observing Gunther Whom She Has Tied to the Ceiling 1807 Pencil, pen and ink and wash, 483 x 317 mm City Museum and Art Gallery, Nottingham The subject is taken from the Niebelung Saga (X, 648-50). Author: FUSELI, John Henry Title: Brunhilde Observing Gunther, Whom She Has Tied to the Ceiling Form: graphics , 1751-1800 , Swiss , other new21/Johann Heinrich Fuseli-357394.jpg
Painting ID:: 62548
Cloud Study, Thunder Clouds over the Palace Tower at Dresden 1825 Oil on paper mounted on board, 21 x 22 cm Nationalgalerie, Berlin Dahl visited Italy and was fascinated by his impressions of the ever-changing landscape there. It was not the classical landscape but the landscape of light and the different morphology between Italy and the North that inspired him to paint, mostly in small format. Dahl soon became the most famous Norwegian artist of his time, and he is often seen as a forerunner of plein air painting. He was a master of vivid sketches from nature, and practiced a more naturalistic painting than Caspar David Friedrich. Author: DAHL, Johan Christian Clausen Title: Cloud Study, Thunder Clouds over the Palace Tower at Dresden Form: painting , landscape , 1801-1850 , Norwegian new21/johann christian Claussen Dahl-583748.jpg
Painting ID:: 62549
View of Dresden at Full Moon 1839 Oil on canvas, 78 x 130 cm Gem?ldegalerie, Dresden The view is seen from the same place at the right at the right bank of the river from where Bernardo Bellotto's view (also in the Gem?ldegalerie) was taken. Author: DAHL, Johan Christian Clausen Title: View of Dresden at Full Moon Form: painting , landscape , 1801-1850 , Norwegian new21/johann christian Claussen Dahl-245674.jpg
Painting ID:: 62819
Italia and Germania after 1828 Oil on canvas, 95 x 105 cm Gemeldegalerie, Dresden This is a copy by the artist of the original (presently in the Neue Pinakothek, Munich) painted in Rome between 1811 and 1828. new21/Friedrich Johann Overbeck-943448.jpg
Painting ID:: 62845
Portrait of a Young Woman 101 x 127 cm Institue of Arts, Detroit This portrait is painted on the reverse of the Nightmare. The portrait is generally believed to be of the woman Fuseli loved, Anna Landolt, who was a niece of the Zerich physiologist Johann Caspar Lavater (1741-1801). Lavater and Fuseli were close friends, but Fuseli's suit was rejected by Anna's parents, and it may not be coincidence that the portrait is on the reverse of his painting The Nightmare. Artist: FUSELI, John Henry Title: Portrait of a Young Woman , painting Date: 1751-1800 Swiss : portrait new21/Johann Heinrich Fuseli-686392.jpg
Painting ID:: 62851
Morning in the Riesengebirge 1810-11 Oil on canvas, 108 x 170 cm Nationalgalerie, Berlin With his friend Kersting he had made a tour of the mountainous area near Dresden known as 'Saxon Switzerland', in the summer of 1810. Morning in the Riesengebirge, painted shortly afterwards, is another exposition of his theme of the cross on a peak. It may be seen as a sort of continuation of the Tetschen Altar. The planes of earth and sky, representing the bodily and the infinite, are bridged by the crucifix, lit by the morning sun. Artist: FRIEDRICH, Caspar David Title: Morning in the Riesengebirge , painting Date: 1801-1850 German : landscape new21/Friedrich Johann Overbeck-272222.jpg
Painting ID:: 62852
The Cross in the Mountains 1812 Oil on canvas, 45 x 37 cm Museum Kunst Palast, Desseldorf Visions of Gothic architecture appear regularly in the artist's work from Winter Landscape with Church (1811, Dortmund), rising like a man-made enigma in a mysterious landscape scenario. An example is provided by The Cross in the Mountains, which can be dated fairly confidently to 1812, and which has long been viewed as a further development of the Tetschen Altar. The rough and rocky terrain of the foreground surrounds a spring, behind which, within an indeterminate space, rise a dark wall of fir trees and the gabled faeade of a Gothic church, reduced to a shadowy silhouette. A wayside calvary marks the border between foreground and back- ground. The logic of space and time seems to have been abandoned in this painting in favour of the unreality of a dream. Artist: FRIEDRICH, Caspar David Title: The Cross in the Mountains , painting Date: 1801-1850 German : landscape new21/Friedrich Johann Overbeck-376367.jpg