The Abby In the Oakland: An Analysis





The Abby In the Oakland: An Analysis

The growth and advancement of fine arts continue to be recorded across the world. Modern art has taken on the use of technology and other advancements. The emergence of creation has been given impetus by older and more prolific artists of the past. David Casper, Leonardo, Maxfield Parish, and Alphose Mucha are some of the most revered artists of all time. These talented individuals inspire the world using art of different forms. Landscape, environment, and nature are at the heart of their manuscripts and excellent masterpieces. Trees, shrubs, and plant varieties have graced their display in a variety of dimensions. This paper shall explore the richness of nature in art, with a special attention on David Casper-“The Abbey in the Oakland”, presented in canvas.

David’s works date back to the nineteenth century. He started exercising his skill on canvas in the early 1800. By 1810, he came up with a splendid oil canvas display. This piece of art was famous and everyone in Germany talked about it. The advantage that David had is the period in which his art came to be. The age of romanticism had tapped roots across the world. Therefore, his art is appreciated across the world, and sells high in the international gallery. “The Monk by the Sea” and other famous pieces were exhibited along with this art. With this kind of art surrounding it, the fame of “The Monk by the Sea” was inevitable. However, the technique behind this painting is a focal point for its international accreditation. The author has managed to use the license of nature, incorporating trees, plantation, and shrubs. These details along with a burly theme give birth to this timeless piece of art (Friedrich).

David’s “The Abbey in the Oakland” is a three dimensional art. This piece has continued to be displayed across the world, as it is made of canvas and oil. The quality and details are still intact. The artist used an old abbey surrounded with shrubs (Friedrich). Shrubs create an air of isolation and a desperate mood in the piece of art. The shrubs have also covered the entire construction and have formed a deep bush. This presents an aspect of entanglement, arrest, and incursion. The trees used in this piece of art are symbolic and complement the entire theme of loss in the art. The trees are bare and without a single leaf. They appear grotesquely in the canvas high up. These trees have sharp tips and with eerie branches; this has been done in order to pass a tale of bluntness and pain that the entire picture carries (Friedrich).

Wooden crosses made from trees are propping up in the graveyard. On this lower side, there is a procession of monk mourners. They all walk towards the abandoned ruins. From below, the ruins are dark and held captive by the surrounding shrubs. The light of the sun is not enough to illuminate this scenery. The shrubs have totally rendered the ruins sinister and mysterious too. The drawing is a representation of a war torn area, where a massacre might have taken place (Friedrich). The entire display brings to mind relics of war and its destruction. The many crosses and a humongous graveyard prove that indeed there is suffering and loss in this part of the world. Moreover, the trees and shrubs used by the artist speak volumes about loss. It is evident that the vegetation is devoid of leaves. Leaves are essential to the survival of plantation in the world. The absence of this primary entity in these drawing show how raped this land is. It can be concluded that shrubs and plants in this piece of art have been used ironically, to create contrast in the development of the entire theme.

Work Cited

Friedrich, Caspar David. The Abbey in the Oakwood. Alte Nationalgalerie, DresdenBerlin.