Paintings

Description of the painting by Caspar Friedrich “Swans in the reeds”

Description of the painting by Caspar Friedrich “Swans in the reeds”



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Friedrich is a well-known German artist, a follower of romanticism. Like other followers of this movement, he believed that the whole world is enclosed in a person, that there is nothing more valuable than a person and his personality, and that emotions are valuable.

His paintings, like the paintings of other adherents of romanticism, are always full of very bright, very pure colors and sometimes reflect reality a little exaggeratedly. Exaggeratedly bright or bright, for example. Each painting has its own central image around which it is concentrated or the central line on which it rests - a ship, a lighthouse, a horizon line, a reflection of the sun in the sea.

“Swans in the reeds” is no exception. At the first glance at her, swans inevitably attract attention - one reaches for the other, who, on the contrary, throws his neck back, looking a little mockingly, a little down. They are sitting in the reeds, obviously having settled down for the night, their necks are arrogantly bent, their eyes are attentive and black.

The lush white feathers on the wings cast yellow shadows, the birds themselves, as if alive, ready, it seems, at any moment stirs, rustles, settles down comfortably. Under the swans and dark, almost black, reeds - a pond.

Dark deep water, in which hardly anyone would dream of swimming, small red flowers reach for the sun on the very shore. And above them is the sky, to which much attention has been paid. It is bright, bright, full of blue and yellow reflections, it looks like water and is ready to seem to splash. Against the background of black reeds, it seems radiant, unbearably contrasting, and the picture seems to be divided into two halves.

One half is the sky. The other is a pond and swans. There is a contrast between the earthly and the ordinary, beautiful and familiar, the heavenly - radiant, delightful, unearthly and wondrous.

And, as if agreeing with himself, combining the two halves into one picture, the artist concludes that they are one whole and impossible without each other.





Levitsky Ekaterina 2


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