User:JWCwiki02/Morning on the Riesengebirge

History
Morning on the Riesengebirge (German - Morgen im Riesengebirge) is an 1810-1811 painting by Caspar David Friedrich of a scene on the Riesengebirge. It was exhibited at the Dresden Academy, where "the public began a pilgrimage" to see the painting. It was then acquired in 1811 by Frederick William III of Prussia for Unter den Linden, his Berlin palace, where it remained until 1837, when it was moved to the Neue Palais in Potsdam.

From 1844 to 1865 it was exhibited in the Schloss Bellevue then later in the castle at Wiesbaden. After 1930 it was moved back to Berlin, where it was displayed in the Stadtschloss. In 1957 it was moved to Schloss Charlottenburg (with inventory number 6911 GK I) as the property of the Prussian State Museums (inventory number NG 10/85).

Description
Friedrich was captivated by mountains, which prompted his journey to observe the Riesengebirge in 1810. He diligently sketched the mountains and supplemented his work by studying its rock formations. His observations culminated in the painting which depicts the sun rising over the mountains at dawn.

There is a woman who is helping a man go up the mountain and they are advancing towards a man crucified on a cross, presumably Jesus Christ. The painter's work infuses the vibrancy of nature's landscapes with religious allegory. The woman is a prominent figure in the painting, representing an "agent of salvation". Friedrich uses the differences in elevation to demonstrate how a woman's "role is to lead her partner onwards and upwards". However, it's important to note that the inclusion of a female figure was not a purely noble and feminist act by Friedrich; he may have been swayed by his desires for companionship at the time. It's also possible that the woman is an allegory for faith, guiding people through difficult mountain journeys.

Rückenfigur
Some scholars surmise that the man is a common figure used in Friedrich's paintings. The man commonly has blonde hair with "bushy whiskers". His gaze faces away from the viewer, symbolizing a Rückenfigur, a trope in painting where the figure's vision is towards the landscape. The viewer can project themself onto the figure and imagine seeing the landscape for themself. Given Friedrich's adoration for nature, the Rückenfigur is one of his unique techniques that emphasizes the beauty of nature rather than the subject.

Reception
Some art critics praised Friedrich's "faithful representation of nature". They praised his astute ability to not only portray nature in a pleasant and accurate way, but also in a way that personifies it.

Art critics were displeased with the painter's depiction of a woman helping up a man.