• Tram No 10, 2011 - Vezur
  • Buddah In His Youth, 1904
  • Sunflowers, 1888
  • Opera House, 2011 - Vezur
  • Negress, 1869
  • Avenue of poplars at sunset, 1884
  • Adam and Eve, 1526
  • Strolling along the Seashore, 1909
  • Sea coast, 2011 - Vezur
  • Embrace aka Lovers II, 1917
  • Spring, 1879
  • Garden Study of the Vickers Children, 1884
  • Almond Branches in Bloom, San Remy, 1890
  • Beatrice, 1897
  • Autumn Sun I, 1912
  • The Vines, 1902
  • The Star, 1878
  • Café Terrace at Night, 1888
  • Orange Trees, 1878
  • Moonrise over the Sea, 1822
  • Blue cow, 2011 - Vezur
  • Boat in the Moonlight
  • Chimney Sweeper, 2011 - Vezur
  • Saint John, 1892
  • Three Sisters at The Three Brothers, 2011 - Vezur
  • Dancers in Blue, 1890
  • Portraits at the Stock Exchange, 1879
  • Lady with hat and feather boa, 1909
  • Idyll in Tahiti, 1901
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884
  • Portrait of Felix Feneon, 1890
  • The Woman Friends, 1917
  • An Angel
  • Portrait of a Man, 1923
  • Seated Nude, 1917
  • Lady of the Flowers, 1895
  • Seacoast at Kurzeme, 2011 - Vezur
  • Ballet Scene, 1879
  • Poppy field in Giverny, 1885
  • Old Town Back In 30's, 2011 - Vezur
  • Golden autumn, 2011 - Vezur
  • Water Lilies, Green Reflection, Left Part, 1923
  • Riga at Night, 2011 - Vezur
  • The Veteran in a New Field, 1865
  • Big Red Buste, 1913
  • Zwei Akte, 1890
  • Reclining Woman with Green Stockings (aka Adele Harms), 1917
  • Passion for Dance, 2011 - Vezur
  • Le Pêcheur (The Fisherman), 1909
  • Lying act, 1917

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.