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SOURCES

Haladyn, Julian Jason. “Friedrich’s ‘Wanderer’: Paradox of the Modern Subject.” RACAR: Revue d’art Canadienne / Canadian Art Review, vol. 41, no. 1, AAUC/UAAC (Association des universités d’art du Canada / Universities Art Association of Canada), 2016, pp. 47–61, http://www.jstor.org/stable/43855855.

Mitchell, Timothy. “Caspar David Friedrich’s Der Watzmann: German Romantic Landscape Painting and Historical Geology.” The Art Bulletin, vol. 66, no. 3, [Taylor & Francis, Ltd., College Art Association], 1984, pp. 452–64, https://doi.org/10.2307/3050447.

Anoka Faruqee, "The Kantian Sublime: Why Care?"
http://anokafaruqee.com/thekantians...

Kant, The Critique of Judgement, Section 23
"From this it may be seen at once that we express ourselves on the whole inaccurately if we term any object of nature sublime, although we may with perfect propriety call many such objects beautiful. For how can that which is apprehended as inherently contrafinal be noted with an expression of approval? All that we can say is that the object lends itself to the presentation of a sublimity discoverable in the mind."

Siegel, Linda. “Synaesthesia and the Paintings of Caspar David Friedrich.” Art Journal, vol. 33, no. 3, [Taylor & Francis, Ltd., College Art Association], 1974, pp. 196–204, https://doi.org/10.2307/775782.

Paulo Pinto, "The experience of the sublime in the work of Caspar David Friedrich"
  / theexperienceofthesublimeinthework...  

Matthew Fitzgerald, "The Sublime: An Aesthetic Concept in Change
https://www.thecollector.com/thesubl...


MUSIC (via Epidemic Sound)

Martin Gauffin, "The Lowest"

August Wilhelmsson, "Now Is The Time To Leave"

David Celeste, "A Song Of Lament"



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The Nerdwriter is a series of video essays about art, culture, politics, philosophy and more.