Casper David Friedrich, The Cross in the Mountains, 1807

Perhaps the first Where’s Waldo of the nineteenth century, Casper David Friedrich’s first majorly publicized work left viewers agape at the relative insignificance of Christ’s figure in a depiction of the Crucifixion.

The Cross in the Mountains, painted by Friedrich at the age of 34, was originally intended to be an altarpiece for the Swedish King, Gustav IV. Confined to a frame made by Friedrich himself, the work was coldly received by the public when it was exhibited on Christmas Day of 1808. Friedrich perches the cross on a mountain surrounded by grand firs. When looking at the painting from afar, the cross almost appears to blend in with the landscape as just another fir. Upon inspection, we discover the cross to be in the center of the composition, reaching higher than the surrounding firs. Hanging on the cross is Jesus in the traditional crucifixion pose. But the savior does not face out toward the viewer. Instead, Friedrich positions Him to mirror the setting sun.

The luminescent sun rays carry great significance in the work. The earth can no longer hold onto the light of Christ. The rays seem to fade as the sun descends and the flesh of Christ grows closer to death. The mountain, immovable, demonstrates the unyielding power of faith, even if the visible rays no longer shine. Faith endures the test of time, as do the firs surrounding the ultimate symbol of Christianity.