The Watzmann, c.1824/25 Caspar David Friedrich (1774-1840)

We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Caspar David Friedrich also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

In case the delivery date needs to be extended in time, or we are overloaded with requests, there will be an email sent to you sharing the new timelines of production and delivery.

TOPofART wants to remind you to keep patient, in order to get you the highest quality, being our mission to fulfill your expectations.

We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
Also, there are postal restrictions, regarding the size of the shipment.
Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting The Watzmann is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

We offer free shipping as well as paid express transportation services.

After adding your artwork to the shopping cart, you will be able to check the delivery price using the Estimate Shipping and Tax tool.

The paintings we create are only of museum quality. Our academy graduated artists will never allow a compromise in the quality and detail of the ordered painting. TOPofART do not work, and will never allow ourselves to work with low quality studios from the Far East. We are based in Europe, and quality is our highest priority.

Caspar David Friedrich’s "The Watzmann" (c.1824/25) is like standing at the edge of the infinite - staring into nature’s grand, indifferent face. The painting thrusts the viewer into a rocky foreground, where twisted, jagged boulders scatter haphazardly, as if nature herself had tossed them there in a fit of cosmic randomness. The green hues of the grass seem almost to ripple over the hills like fabric, giving a strangely organic contrast to the harsh stone beneath.

As your eyes drift upwards, they are met by layers upon layers of mountains, the hills rolling into one another, gradually darkening with the shade as they recede into the distance. It’s a gradient of greens and purples, as the light fades, pulling you deeper into the work. And then - the Watzmann itself, that towering snow-covered peak, looming like some untouchable deity in the background. It’s a pure, icy white, stark against the softer, darker colors below, almost as if Friedrich painted the peak in another universe altogether.

Friedrich's technique is meticulous, almost meditative. He’s not slapping on paint for the sake of atmosphere; every rock, every shadow, every glimmer of light is exact. The composition has a balance that’s so deliberate it feels inevitable, leading you up and up, from the grounded details of the foreground to the airy, ethereal peaks beyond.

And yet, there’s something mournful about this clarity. It’s too perfect, too still, as though time itself has frozen over in this landscape. This is not the raw, untamed wilderness; it’s nature through the lens of an existential philosopher - beautiful, yes, but with a coldness that reminds us how small we truly are.