Word: friedrichs
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Dates: during 1980-1989
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Senior Writer Otto Friedrich, who wrote the story, is also well acquainted with the workings of the law. Friedrich edited TIME's Law section from 1971 to 1973 and from 1975 to 1978, and wrote about politics and the law for last February's American Renewal issue. Says he: "Trial by jury is perhaps the only time when ordinary citizens are given the intimate details of a person's life-and then given the authority to make a binding judgment." Adds Sanders...
...Otto Friedrich...
...City, is about 35 years late in coming to Manhattan; but in this case, better late than never. No such comprehensive view of German art has ever been set before an American public; from the romantic visions and esoteric metaphors of painters like Philipp Otto Runge and Caspar David Friedrich in the first decades of the 19th century, to the robust dash and splash of Lovis Corinth at its end, there are 150 works by 30 artists, and they help fill a gaping hole in our sense of the actual patterns of European culture. The fact, to put it simply...
...might come closest to a definition of their aspirations," writes Schiff in his catalogue essay on early 19th century artists like Friedrich, Runge and Carl Gustav Carus, "by stating that 'longing' (Sehnen) was the first and almost the last word of German romanticism." These painters were men of exceptional seriousness, their sense of mission verged on the priestly, and they saw art as a powerful means of philosophic speech. As Schiff rightly remarks, one dictum of the writer Friedrich Schlegel appears to summarize their hopes: "Only he can be an artist who has a religion...
...itself? In nature, and all individual mythologies must be deduced from a philosophy of nature, through contemplation of the universe. One saw God in what he had made, a diffuse and vast presence behind the screen of natural facts. Thus one of the master images of romantic contemplation was Friedrich's Moonrise on the Sea, 1822, three figures on a rock, silhouetted in a loneliness as absolute (though not as flamboyant) as Manfred's, Childe Harold's or Young Werther's, gazing in immobility at the slow unfolding of light on the darkened, violet-tinged flatness...