Woman at a Window

Woman at a Window is an 1822 oil painting by the German Romantic artist Caspar David Friedrich. This painting is currently located in Alte Nationalgalerie, Berlin. The painting depicts an interior with a woman, seen from behind, peering out an opened window. Beyond the window, the masts of ships are visible. The woman in the piece is Friedrich's wife Caroline and the view from the window is from his studio overlooking the Elbe river in Dresden. Friedrich submitted his work to be exhibited at the Dresden Academy, however he did not complete the piece in time to be in the main exhibition.

This painting employs the motif of the Rückenfigur, or a figure seen from behind, which is commonly associated with Friedrich who notoriously made use of this compositional device in many of his pieces. The Rückenfigur serves as a surrogate for the viewer to experience what they are witnessing. In this painting, the viewer is invited to look beyond the interior into the external world, as the woman does, experiencing her sense of yearning.

Influences
During the year 1816, Friedrich experienced what he described as a "crisis" in his artistic style, with his primary focus being on seascapes, which lacked vibrancy and formality. In the subsequent years, Friedrich's style was heavily influenced by changes in his social life, including his marriage to Caroline Bommer in 1818, after which he placed new emphasis on figures in his artwork. Friedrich's work at the time may also have been influenced by the younger artists that he became acquainted with in Dresden, including Georg Friedrich Kersting, Carl Gustav Carus, and Johan Christian Dahl. In particular, Dahl had a significant influence on Friedrich's work; the two artists were closely connected, sharing a house together in Dresden. During the time of their friendship, Friedrich's focus on landscapes and use of vibrant colors and looser brushstrokes were notable.

Prior to his execution of Woman at a Window, Friedrich created a sepia sketch of his view from the window of his Dresden studio. Beginning with his sketch View from the Artist's Atelier in 1806, Friedrich established his craft at portraying a view through an opened window, through which he represents the juxtaposition "between interior and exterior as a play between self and world, consciousness and nature." Friedrich's refined use of the window motif serves to represent both the artist's viewpoint and the view from the window itself.

Composition
The composition of this painting follows an orthogonal layout, with receding vertical and horizontal planes that create a symmetrical interior. The geometric lines created by the floorboards, shutters, molding, and window sill define the symmetrical nature of the piece, converging to the view outside the window. The symmetrical interior is interrupted by the woman's slightly leaning posture, which is paralleled in the masts of the ships on the Elbe. Within the bare room, there are two bottles visible to the right of the woman on the shelf. The central figure is a woman seen from behind wearing a modest green dress, a technique Friedrich often employed, known as the Rückenfigur. Friedrich in many of his works has a similar scene, where a figure (usually seen from behind) contemplates the nature that appears in front of them, leaving their reaction unspecified for the painting's viewer. In this particular painting, the woman stands in a middle-class interior, looking out an opened window, fragmenting the view. The woman gazes at the ships swaying on the Elbe river and the poplars on the distant shore, inviting the viewer to do the same. Friedrich depicts a woman in silent contemplation, evoking a sense of longing and uncertainty.