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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9211097 The evolving imagery of Caspar David Friedrich: An investigation of his German and Baltic patriotism Braysmith, Hilary Anne, Ph.D. The Ohio State University, 1991 Copyright ©1991 by Braysmith, Hilary Anne. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 THE EVOLVING IMAGERY OF CASPAR DAVID FRIEDRICH: AN INVESTIGATION OF HIS GERMAN AND BALTIC PATRIOTISM DISSERTATION Presented in P artial Fu lfillm ent of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Hilary Anne Braysmith, B.A., M.A. ^ ^ ^ The Ohio State University 1991 D issertation Committee: Approved by M. Herban M. Curran M. Fullerton Advisor Department of the History of Art Copyright by Hilary Anne Braysmith 1991 I could not have researched and written this dissertation with out the constant and selfless support of my family, especially that of my husband, Eric Daniel Braysmith, my mother, Jane M. Bray, and my grandmother, Lyla M. Boland, to whom this work is dedicated with much love and gratitude. 11 ACKNOWLEDGEMENTS I am indebted to my advisor, Dr. Mathew Herban III, for his guidance and insight and to my ersatz "Doctor Father," Dr. Helmut Borsch-Supan fo r his advice during my stay in Berlin. I would also like to thank the members of my dissertation committee, Drs. Michael Curran, Mark Fullerton and Charles Hoffmann. In addition, thanks go to the Fulbright Commission, the Germanistic Society of America, the Graduate Student Alumni Research Award Committee, and the Kate Murnane Travel Fellowship Foundation for making my research possible. F in ally, I could not have completed my dissertation without the assistance of Dr. Sibylle BadstUbner, Wolfgang and Franziska Beck, Melanie Bray, Betty Brunn, John Crawford, Cynthia Doe11, Kay Eckhardt, Audrey Fessler, Pat Huffman, Larry Johnson, Sharon Lakey, Elke L ic k fe tt, Kate Sauve, Mary Shenk, Verena Tomazic, Mr. and Mrs. N ils Tuxen, Jefford Vahlbusch, Valerie Le Vot and Susan Wyngaard. VITA April 21, 1955 Born - Los Angeles, C a lifo rn ia 1977 .................................. B.A. University of Redlands, Redlands, C a lifo rn ia 1986................................... A.B.D and M.A., The Ohio State University 1987................................... Fulbright and Germanistic Society of America Fellow to Berlin 1989 - pr e s e n t...............Assistant Professor, the University of Southern Indiana, Evansville, Indiana FIELDS OF STUDY Major Field: History of Art i v TABLE OF CONTENTS ACKNOWLEDGEMENTS i i i VITA ....................................................................................................................iv LIST OF FIGURES ...................................................................................... vi INTRODUCTION ............................................................................................. 1 CHAPTER PAGE I. Intellectual Context: The FrOhromantik and C. D. F rie d ric h ’ s KunstwolTen .............................. 8 II. Intellectual Context: C. D. Friedrich’s Id e n tity with Pomerania ................................................. 23 I I I . Source of Imagery: F ried rich ’ s C rite ria for Motif Selection ..............................................................46 IV. The Gothic Ruin and the Monk ......................................63 V. The Evolving Meaning of the Gothic Church Ruin: 1800-1812 92 VI. The Evolving Meaning of the Gothic Church Ruin: 1812-15 .............................................................................173 VII. The Evolving Meaning of the Gothic Church Ruin: 1815-36 .............................................................................189 CONCLUSION...................................................................................................286 BIBLIOGRAPHY ........................................................................................ 372 v LIST OF FIGURES FIGURES PAGE 1. H istorical Pomerania Thirteenth- century-1919........................................................................292 2. Pomerania, Sweden, and Brandenburg, 1637-1720 ........................................................................................ 294 3. Pomerania, Sweden and Prussia 1720-1815 .... 296 4. Pomerania, Sweden and Prussia 1815-1919 .... 298 5. Sites in Saxony Significant for Friedrich 1798-1837 ........................................................................................ 300 6. Silver medal struck in Amsterdam, 1730, reproduction from Kestner-Museum, Hanover, Munzen und Medaillen zur Reformation. Hanover: Schluter Margildis, 1983, (Fig. 105, side B ) .........................................301 7. Ducat struck in Lubeck, 1730, reproduction from Kestner-Museum, Hanover, MQnzen und Medaillen zur Reformation. Hanover: Schluter M argildis, 1983, (Fig. 113, side B ) ...........................................................301 8. Silver medal struck in Brandenburg-Ansbach, 1730, reproduction from Kestner-Museum, Hanover, Munzen und Medaillen zur Reformation. Hanover: SchlOter M argildis, 1983, (Fig. 108, side B ) ........................................................................302 9. Origin unknown, 1629, reproduction from Kestner Museum, Hanover, Munzen und Medaillen zur Reformation. Hanover: Schluter M argildis, 1983, (Fig. 56, side A ) ........................................................... 302 v i 10. Coin struck in Heilbrunn, 1717, reproduction from Heinrich Gottlieb Kreussler, Martin Luthers Andenken in Muenzen nebst Lebens-beschreibungen merkwuerdiger Zeitoenossen desselben. (Fig. 59, side B) ..........................................................................303 11. Coin struck in Neustadt, 1717, reproduction from Heinrich Gottlieb Kreussler, Martin Luthers Andenken in Muenzen nebst Lebensbeschreibungen merkwuerdiger Zeit-genossen desselben. (Fig. 97, side B) . ....................................................303 12. Coin struck in the Electorate of Brandenburg, 1717, reproduction from Heinrich Gottlieb Kreussler, Martin Luthers Andenken in Muenzen nebst Lebensbeschreibungen merkwuerdiger Zeitgenossen desselben, (Fig. 143, side B ) .............................................304 13. Claude Mellan, Per katholische Glaube. 1642, engraving, reproduction from Hamburger Kunsthalle, Luther und die Folgen fur die Kunst. Hamburg, Munich: Prestel-Verlag, 1983, (figure 166) ................................................................................... 305 14. Claude Mellan, Die Religion mahnt zur Wohltatigkeit. c.1640, engraving, reproduction from Hamburger Kunsthalle, Luther und die Folgen fur die Kunst. Hamburg, Munich: Prestel-Verlag, 1983, (figure 167) ................................................ 306 15. Heinrich O liv ie r, Die H eilige A llia n z . 1815, o il on canvas, reproduction from W illi Geismeier, Die Malerei der deutschen Romantik. Dresden: Verlag der Kunst, 1984, (plate 73) ............................. 307 16. Josef W intergerst, Die Versohnung Ludwigs des Bavern mit Friedrich dem Schonen. 1325. 1816, o il on canvas, reproduction from W illi Geismeier, Die Malerei der deutschen Romantik. Dresden: Verlag der Kunst, 1984, (p late 84) ...................................................... 308 17. Carl Russ, Rudolph von Habsburg verweist der Wache die Verweigerung des Zutritts der Armen. 1811, oil on canvas, reproduction from W illi Geismeier, Die Malerei der deutschen Romantik. Dresden: Verlag der Kunst, 1984 ...................................................... 309 18. Anton Petter, Begegnung Maximilians I. mit Maria von Burgund in Gent 1477. 1813/14, o il on canvas, v i i reproduction from W illi Geismeier, Die Malerei der deutschen Romantik. Dresden: Verlag der Kunst, 1984 .......................................................................................................310 19. Ludwig Kohl, Gotischer Saal mit Rittern der Heiligen Feme, 1812, reproduction from W illi Geismeier, Die Malerei der deutschen Romantik. Dresden: Verlag der Kunst, 1984 ..............................................................
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