• When The Grass Was Greener, 2011 - Vezur
  • Reclining Woman with Green Stockings (aka Adele Harms), 1917
  • Nabis Landscape, 1890
  • Saint John, 1892
  • Water Lilies, 1906
  • Autumn, 1877
  • Agony, 1912
  • Foggy Morning, 2011 - Vezur
  • Ophelia, 1905
  • Woman on a Terrace, 1857
  • Café Terrace at Night, 1888
  • Wanderer above the Sea of Fog, 1818
  • Portrait Of The Painter Max Oppenheimer, 1910
  • River Daugava, 2011 - Vezur
  • Morning in a Pine Forest, 1889
  • Dance Festival, 2011 - Vezur
  • Self Portrait With Spread Fingers, 1909
  • A Friend in Need, 1903
  • Boat in the Moonlight
  • Old Riga, 2011 - Vezur
  • Sea coast, 2011 - Vezur
  • The Veteran in a New Field, 1865
  • Evocation
  • Madame Pompador, 1915
  • Contrasting Sounds, 1924
  • Yellow Circle, 1926
  • Poppy field in Giverny, 1885
  • The Thames below Westminster, 1871
  • Adele Bloch Bauer I, 1907
  • Madame Camus with a Fan, 1870
  • Riga Springtime, 2011 - Vezur
  • Riga in begining of 20th century, 2011 - Vezur
  • Blue Dancers, 1899
  • Breton Landscape - Fields by the Sea (Le Pouldu), 1894
  • The Vines, 1902
  • Mother And Child Aka Madonna, 1908
  • Seacoast at Engure, 2011 - Vezur
  • Spring, 1879
  • Poppies at Argenteuil, 1873
  • La Sybille, 1891
  • The Football Players, 1908
  • Portraits at the Stock Exchange, 1879
  • Evening on Volga, 1888
  • Riga at Night, 2011 - Vezur
  • Study of a Head, 1913
  • The Haymaker, 1886
  • The End of Summer, 2011 -  Vezur
  • View Of Venice Fog, 1881
  • The Sower, 1888
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884

Wanderer above the Sea of Fog, 1818

Wanderer above the Sea of Fog, 1818

Caspar David Friedrich

Friedrich's greatest accomplishment was his ability to turn landscapes into a medium of physiological and spiritual biography. Here, he includes his own portrait within his landscape as a lay figure seen from behind, a device intended to invite the viewer to look at the world through the lens of the artist's own personal perception. Friedrich was captivated by the idea of encountering nature in solitude in deepest revines, as here on the pinncacle of a mountain, which was about as far away from urban civilization as a European man could get. In his later paintings, Friedrich will continue to stress that the very idea of "self-expression" had to be associated with physical and spiritual isolation. The Romantics believed that any artist who wanted to explore his own emotions, had necessarily to stand outside of the throng of money-making, political gimmickry, and urban noise in order to assert and maintain their positions.

The painting will be delivered unstreched, rolled in protective & presentable case.