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By studying the importance of specialist art periodicals in creating the artistic, economic and cultural-historical value of modern art and visual culture, this volume is dedicated to the history and legacy of specialist art reviews, bulletins, and magazines across Europe - and their echoes elsewhere - in the early to mid-twentieth century.

Art --- Art, Occidental --- Art, Primitive --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Periodicals --- History --- Aesthetics of art --- art criticism --- Modern [style or period] --- press [culture-related concept] --- anno 1910-1919 --- anno 1920-1929 --- anno 1930-1939 --- anno 1940-1949 --- Europe --- Périodiques. --- Périodiques.

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Caspar David Friedrich is considered one of the most important painters of the German romantic era but also first and foremost a nationalistic painter. Since his rediscovery by German art and social historians in the early 20th century, each generation has attempted to place him within their own version of German nationalism. His reputation was very tarnished by the national socialists but attempts were made by scholars in the 1960s to understand his work in the context of his deep personal faith. When the Hamburger Kunsthalle in 1970 purchased the until then more or less unknown Wanderer in a Sea of Fog, his life and work was introduced to a new generation of Germans and his art now stand symbol not only for a yearning sense of Germanness but also for a deeper spirituality and connection with the landscape and nature. Less known to a wider public is the fact that when Friedrich was born in Greifswald in 1774, his hometown was in Swedish Pomerania, a province that had been held by the Swedish kings since 1628. Although the province was not part of Sweden proper and remained within the Holy Roman Empire – thus making the Swedish king a prince elector with right to representation in Regensburg – many residents of the province, in particular in the latter half of the two centuries of Swedish rule, felt a strong affinity with Sweden. That affinity was often interwoven with their own sense of being German and at times, the two identities conflicted with each other and at times complemented each other. Friedrich spent most of his adult life in Dresden in and around the art academy but he had received his initial training in Greifswald and Copenhagen and his own spiritual life had been formed by his family’s deep Lutheranism and his friendship with both Swedish and German thinkers such as Kosegarten, Quistorp, Arndt and Thorhild. They all existed within this hybrid world of Swedish and German. Friedrich often talked about how he painted his soul in the landscapes he produced and in this thesis, I aim to show that whilst a prominent representative of German nationalist and romantic art, the soul that Friedrich painted was at least in part Swedish and, perhaps even more specifically, Baltic. By reviewing the history and historiography of both Friedrich and Swedish Pomerania, by considering his own personal religiosity and his affinity to the kings of Sweden and the Baltic landscape and by trying to understand his art, Friedrich can be placed in a somewhat new context that is less obviously German.

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Literature