Woman at a Window
1822
Illustrative frame preview.
Alte Nationalgalerie, BerlinOriginal work, between 1809 and 1810
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Caspar David Friedrich — The Abbey in the Oakwood Print
Bare oak trees rise around the remains of an abbey in a winter landscape. Friedrich sets a small procession beneath the ruined arch, with a pale band of sky illuminating the dark silhouettes.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
$29.00
Delivery to the contiguous US and Washington, DC.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
About the artwork
Bare oak trees rise around the remains of an abbey in a winter landscape. Friedrich sets a small procession beneath the ruined arch, with a pale band of sky illuminating the dark silhouettes.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Caspar David Friedrich
- Artwork
- Caspar David Friedrich — The Abbey in the Oakwood Print
- Date of work
- between 1809 and 1810
- Museum collection
- Alte Nationalgalerie, Berlin
About Caspar David Friedrich
German · 1774–1840
Caspar David Friedrich was born in Greifswald on the Baltic coast in 1774. Early drawing lessons led to study at Copenhagen’s Academy of Fine Arts. After four years in Denmark, he settled in Dresden, where he joined a world of Romantic writers and thinkers. Drawing remained fundamental to his art, with journeys into nature providing material for carefully constructed paintings.
Friedrich established himself through landscape drawings and sepias before turning to oil painting. Cross in the Mountains, painted in 1808, provoked debate by making landscape central to a devotional image. Recognition followed, including election to the Berlin Academy in 1810 and the Dresden Academy in 1816. He continued travelling and making drawings from life, bringing direct observation into pictures shaped by a deliberate imagination.
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