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By Annette Kowalski

This used to be a present for a chum who loves Bob Ross. every little thing confirmed up in nice form and steered. more than pleased.

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Staatliche Kunstsammlungen, Gemäldegalerie, Dresden.   Hut in the Snow, c. . National Gallery, Berlin.   Epitaph for Johann Emanuel Bremer, c. . Schloss Charlottenburg, Berlin.   Two Men Contemplating the Moon, c. . National Gallery, Berlin.   Large Enclosure, c. . Staatliche Kunstsammlungen, Gemäldegalerie, Dresden.   Morning (Departure of the Boats), c. –. Niedersächsisches Landesmuseum, Hanover.   Woman at the Sea, c. . Stiftung Oskar Reinhart, Winterthur.

The ensemble’s character as altarpiece must have been indeed more apparent to these original viewers than it is to us today, for they were able to experience its intended orientation in space. Flanked by fluted columns, topped by overhanging full-relief sculpture, and outfitted with a heavy, stepped base, the Cross in the Mountains was designed not to be hung flat on the wall, as it is today in the Kupferstichkabinett in Dresden, but to be stood on a table as a three-dimensional object. A project drawing for the work shows this original orientation (illus.

What he would have seen was the Cross in the Mountains hung in Countess Maria Theresa’s bedroom, surrounded by smaller paintings and all the furnishings of domestic life. Today the work hangs in the Gemäldegalerie in Dresden, representing the continuing secularization of a religious image, which began when the work left the artist’s atelier. It remains a landscape painting enframed as if it were a religious image. An old photograph of the Countess’s bedroom reveals that together with Friedrich’s Cross in the Mountains hung a large, framed engraving of a painting which had been exhibited in the Gemäldegalerie in Dresden since , Raphael’s great Sistine Madonna of – (illus.

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