Abstract
The Concept of the Image in the Work of Caspar David Friedrich . This article presents a new interpretation of the oeuvre of Caspar David Friedrich founded on the fact that his work cannot be surveyed through a traditional iconographie approach that attempts to identify links between images and texts. Friedrich did not base his compositions on specific written sources, but evoked a spiritual, political, and historical universe that was materialized through natural and cultural fragments recorded with precision. These fragments were assembled independently from their original contexts in order to create new formal ensembles. The meanings of Friedrich works are reevaluated through the detailed analysis of plastic elements and the ways in which many of his paintings function as pendants, without producing a definitive interpretation. Friedrich privileged aesthetic experiences as a form of mediation, which allows for reflection on the relation between what is shown and the experience of salvation.
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