Friedrich is recognized today as the supreme German painter of the Romantic era, but in his own time his genius was not so widely acknowledged. This was not because the aims of his art were foreign to the interests of his generation. On the contrary, his allusions to the spiritual in nature, his close study of the local landscape, and his emphasis on the need for inspiration were all commonplace preoccupations of the period. His art was undervalued because it explored these areas with a new uncompromising vision that was too personal and original to be easily grasped.
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William Vaughan in German Romantic Painting (1980), p. 65Caspar David Friedrich
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He never made the obligatory journey south to study in Rome; his subject matter was the foggy and precipitous vista, sublimely expansive and filled with premonitory brooding. The writer Ludwig Tieck believed Friedrich was the Nordic genius incarnate, whose mission was "to express and suggest most sensitively the solemn sadness and religious stimulus which seem recently to be reviving our German world in a strange way." ... Friedrich's work, the Dresden painter Ludwig Richter remarked in 1825, does not deal with "the spirit and importance of nature ... Friedrich chains us to an abstract idea, using the forms of nature in a purely allegorical manner, as signs and hieroglyphs."
Caspar David Friedrich
From this inheritance contemporary philosophers have continued to draw profit. Parmenides is their earliest ancestor whose work contains explicit and self-conscious argumentation. The severe conceptual difficulties posed for the first time in his verses are of perennial interest, and many of them remain in the forefront of discussion today. Recent study has thus brought his thought, in the words of another critic, "astonishingly close to some contemporary preoccupations." He should be viewed not only as "the most original and important philosopher before Socrates" but as the first extant author deserving to be called a philosopher in a present-day sense of the word.
Parmenides
The German landscape is something unique that we cannot disturb and have no right to destroy. The more densely populated our 'living space' becomes with settlements, the greater our hunger will grow for unspoilt nature. The ever increasing spiritual damage caused by life within the big city will make this hunger practically uncontrollable... when we build here on this the landscape of our homeland we must be clear that we will protect its beauty; and in places where this beauty has already disappeared, we will reconstruct it.
Fritz Todt
We are trying to persuade people that no human has yet grasped 1% of what can be known about spiritual realities. So we are encouraging people to start using the same methods of science that have been so productive in other areas, in order to discover spiritual realities.
John Templeton
(E)ach generation thinks it invented sex; each generation is totally mistaken. Anything along that line today was commonplace both in Pompeii and in Victorian England; the differences lie only in the degree of coverup -- if any.
Robert A. Heinlein
Friedrich, Caspar David
Friendly, Fred W.
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