Woman Before the Rising Sun 1820

The German painter Caspar David Friedrich (1774-1840) is famed for his Romantic symbolic landscapes. His brilliant and enigmatic oil painting Woman Before the Rising Sun (1818-1820) – also known as Woman Before the Setting Sun – makes use of Friedrich’s signature composition style, consisting of a silhouetted figure facing a vast and open terrain. In this painting, a woman stands with her back turned away from the viewer. She wears the fashionable attire of the period, conforming to The Empire Style (a design of high-waisted dress with a loose-fitting skirt) which was popular in Europe at the beginning of the nineteenth century. The woman gazes outward onto the landscape with her hands slightly raised, reflecting the movement of the sun. Her face and appearance remain hidden. This lack of a specific identity allows the viewer to relate to the woman; she embodies and stands in for the viewer themselves, allowing them to observe the landscape alongside her and share in her awe. Friedrich prioritises emotion and subjectivity over the creation of a clear narrative in this painting. The huge and wide landscape encourages the viewer to contemplate themselves in relation to the power and magnificence of nature. This emphasis on the sublime and spiritual aspects of nature is a key aspect of Romanticism. The tone of this work is debated by art critics. Friedrich did not attribute a specific title to the painting, so it is unclear whether this work depicts a sunrise or sunset. If interpreted as a sunrise, the painting can be seen as a representation of hope and illumination – capturing the rebirth and optimism associated with a new day. Other scholars argue that the work illustrates a sunset, and point out that the fiery light builds an atmosphere of apocalypse and impending catastrophe. So, what do you think? Is the painting joyful or pessimistic? You decide! 🌅💬 In recent decades, the work of Caspar David Friedrich has seen a revival in research and study. This provides evidence for the enduring appeal of his impressive landscapes. Studies have now revealed his technical skill, discovering that the artist applied exact mathematical concepts of the golden ratio perspective. This builds the sense that the landscape is expanding beyond the foreground, allowing the viewer to feel completely immersed in the landscape. A new exhibition at New York’s Metropolitan Museum of Art, titled Caspar David Friedrich: The Soul of Nature, will open this year. Editor: Lucy Jude Grantham