Caspar David Friedrich painted a number of these Hünengräber, whose etymology suggests erroneously that giants are buried there! They are all over North Germany, dating from the late Neolithic period.
I have read it (and gave it a shout-out at the end of my post, Nature's Emissary). In my other post on Friedrich, About Face!, which examines Friedrich's use of the Rückenfigur, I somewhat disagreed with Illies's claim that the Rückenfigur came about because Friedrich wasn't good at faces. I rather think he wasn't interested in faces. But the book is an enjoyable read with some very surprising anecdotes.
Brooks, thank you. I remember seeing the "Nature's Emissary" post but had forgotten that you'd recommended Illies there. (Pardon me!) I have just gone back and read (or re-read) both posts. I heard Illies repeat that claim about Friedrich's not being able to draw faces on an art podcast ("Augen zu"), but I definitely prefer your explanation! Actually, your point about the "Ruckfigure" drawing us in by inviting us to share in the person's gaze toward whatever he is looking at struck me as very insightful about why these paintings are so compelling.
Caspar David Friedrich painted a number of these Hünengräber, whose etymology suggests erroneously that giants are buried there! They are all over North Germany, dating from the late Neolithic period.
Based on the size of the rocks, there could be giants buried there! ; )
Thanks for the comment, Brooks. Have you read Florian Illies's book on Caspar David Friedrich? I haven't but have been tempted.
I have read it (and gave it a shout-out at the end of my post, Nature's Emissary). In my other post on Friedrich, About Face!, which examines Friedrich's use of the Rückenfigur, I somewhat disagreed with Illies's claim that the Rückenfigur came about because Friedrich wasn't good at faces. I rather think he wasn't interested in faces. But the book is an enjoyable read with some very surprising anecdotes.
Brooks, thank you. I remember seeing the "Nature's Emissary" post but had forgotten that you'd recommended Illies there. (Pardon me!) I have just gone back and read (or re-read) both posts. I heard Illies repeat that claim about Friedrich's not being able to draw faces on an art podcast ("Augen zu"), but I definitely prefer your explanation! Actually, your point about the "Ruckfigure" drawing us in by inviting us to share in the person's gaze toward whatever he is looking at struck me as very insightful about why these paintings are so compelling.