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A Self-Portrait as Landscape Painter: Caspar David Friedrich and Phrenology
Nina Amstutz
Aus der Zeitschrift: Zeitschrift für Kunstgeschichte
Online veröffentlicht:
30 Dec 2016
Zusammenfassung
A Self-Portrait as Landscape Painter: Caspar David Friedrich and Phrenology
The article explores a precocious moment of interest in how the brain mediates aesthetic perception. Around 1810, Caspar David Friedrich drew himself with several features that deviate from his earlier self-portraits, including two bumps between the brows at the root of the nose. These cranial protuberances were associated with a cognitive faculty that the phrenologist Franz Joseph Gall insisted is common among landscape painters: Ortssinn , characterized by a heightened ability to remember places and to measure distance and perspective. I argue that Friedrich’s drawing is a self-portrait as landscape painter , where the signifiers of identity are no longer conventional artistic or sartorial attributes but rather the contours of the cranium and, by implication, the fabric of the artist’s mind.
A Self-Portrait as Landscape Painter: Caspar David Friedrich and Phrenology
The article explores a precocious moment of interest in how the brain mediates aesthetic perception. Around 1810, Caspar David Friedrich drew himself with several features that deviate from his earlier self-portraits, including two bumps between the brows at the root of the nose. These cranial protuberances were associated with a cognitive faculty that the phrenologist Franz Joseph Gall insisted is common among landscape painters:
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