• Anemones, 1909
  • Café Terrace at Night, 1888
  • Dancers in Blue, 1890
  • Reclining Semi-Nude with Red Hat, 1910
  • Two Swans, 2011 - Vezur
  • Yellow Circle, 1926
  • The Woman Friends, 1917
  • Anna Pavlova in the Ballet Sylphyde, 1909
  • Nabis Landscape, 1890
  • A Carnival Evening, 1886
  • Portrait Of Gabrielle Aka Young Girl With Flowers, 1900
  • Portrait of a European Lady in Japanese Costume
  • Madame Camus with a Fan, 1870
  • Paris Street - Rainy Weather, 1877
  • Interior, Woman at the Window, 1880
  • A Friend in Need, 1903
  • Self Portrait with Hands on Chest, 1910
  • Standing Girl in a Plaid Garment, 1909
  • Tree of Life, 1909
  • The Buffalo Trail, 1867
  • The Sower, 1888
  • Madame Pompador, 1915
  • San Giorgio Maggiore at Dusk, 1908
  • The Hope II, 1908
  • Water Lilies, 1906
  • Study for The Spanish Dance, 1882
  • The Haymaker, 1886
  • Midsummer Night, 1876
  • The Football Players, 1908
  • Dance Festival, 2011 - Vezur
  • Dancers V, 1877
  • Almond Branches in Bloom, San Remy, 1890
  • Portrait of Ida Rubenstein, 1910
  • Lady of the Flowers, 1895
  • Bare Tree behind a Fence, 1912
  • Woman with Black Hat, 1909
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • Riga at Night, 2011 - Vezur
  • Blue cow, 2011 - Vezur
  • The Veteran in a New Field, 1865
  • Wheat Field With Reaper And Sun, 1889
  • Stork, 2011 - Vezur
  • Portrait Of The Painter Max Oppenheimer, 1910
  • Foggy Morning, 2011 - Vezur
  • Lane at the Jardin du Luxembourg, 1886
  • Countryside, 2011 - Vezur
  • Stehend Karyatide, 1913
  • Fields of Gold, 2011 - Vezur
  • The Red Vineyard, 1888
  • The Rape of Europa, 1910

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.