The Abbey in the Oakwood

The next piece is titled The Abbey in the Oakwood, or Abtei im Eichwald in German, and is another work by Caspar David Friedrich, painted from 1809-1810. This painting portrays a procession of monks heading towards the gate of the ruins of a Gothic church, located in the center of the painting (Abbey). Friedrich uses shadow to depict a mysterious scene, as one sees dark figures walking in procession towards the ruins of a church. The trees in the scene are a key element of what makes this painting fit the theme of this collection; compared to the hooded figures and ruined church, the trees are gargantuan and wild. Although the church ruins are centered in the painting, the surrounding trees and sky dominate the image, so much so that they act to outline the presence of the seemingly out-of-place church. The overwhelming presence of the trees and their chaotic branches make nature appear to be the more powerful presence, as they seem to have grown through where the church used to stand. Furthermore, the chaotic way in which the branches are painted symbolizes how nature is so untamed and wild, and the way in which Friedrich uses shadow in his landscape makes the image ominous and, because of this and other stylistic elements, the painting appears mysterious and boundless (Abbey).

Just like with The Wanderer Above the Sea of Fog, Caspar David Friedrich painted The Abbey in the Oakwood during the Romantic era of art. This piece, based upon studies of the ruins of Eldena Abbey, was painted in a studio but was based off of “en plein air” sketches, meaning sketches done out in nature (Abbey). Just as was discussed previously, the Romantic era was a time of unique artistic expression, when artists focused on the aesthetics and emotion of paintings, as well as self-expression, rather than explaining every detail of nature and the human form scientifically (Romanticism). Friedrich clearly fits that style in The Abbey in the Oakwood, as one examines different elements of the piece.