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The Watzmann, c.1824/25 by Caspar David Friedrich
Canvas Print - 11598-FCD

Location: Gemäldegalerie, Berlin, Germany
Original Size: 135 × 170 cm

The Watzmann by Caspar David Friedrich (c.1824/25) is reproduced as a museum-quality giclée canvas print. Printed with archival inks on 400 g/m² canvas and hand-varnished for UV protection, it can be made in any size up to 32.8 × 41.3 in, scaled proportionally, with optional framing. Free worldwide shipping available; unframed prints ship in 2 workdays, framed in 7 to 8. Guaranteed 100-year color durability.

The Watzmann by Caspar David Friedrich, c.1824/25 - canvas print
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Giclée Canvas Print | $74.15 USD

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SKU:11598-FCD
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Rolled
Production: 2 Workdays
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Giclée Print Quality on 400 g/m² Canvas, Satin/Gloss

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Largest Available
32.8″ × 41.3″
Framing: Long Side Up to 28"
Can be Framed

Sizes scale proportionally to the original. Dimensions shown are for the printed area - we always add 1.2 in of blank canvas on every side for stretching.

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Also Available as Oil Painting Reproduction

Questions about this Print

The size you set is the printed image, the part you see once the canvas is stretched. Beyond that size we add 1.2 in of blank canvas on every side, at no extra cost, so the stretcher bars have something to grip. A 17.2 × 21.7 in print therefore arrives as 19.6 × 24 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 32.8 × 41.3 in, always in the proportions of the original. If you need something larger, or a size that has to fit a frame you already own, write to us with the title and the dimensions and we will tell you what is possible. Every print is made to order, so there is usually a way.

Because the original is an oil painting on canvas. We match the print medium to the original: oil paintings go on canvas, works on paper go on fine art paper. Our canvas is natural cotton, 400 g/m² Canvas, acid-free and pH neutral, and its woven texture gives the most natural impression of Caspar David Friedrich's original oil painting. The finish is satin/gloss, which keeps the depth of the dark tones the way varnish does on a painting in a museum; a matte canvas looks dull and pale next to it. More about our print media.

Start with the original, which measures 135 × 170 cm. A print at or near that size reads the way the artist judged it. Printing smaller is easy; enlarging a small original changes its character. For the wall, above a sofa or a sideboard aim for two thirds to three quarters of the furniture width, and hang the center at eye level. Cut paper to size and tape it to the wall before you order. The original hangs in Gemäldegalerie, Berlin, Germany. Full size guide.
30-day returns on unframed prints. Shipping, framing, care and returns are covered in our Help & FAQ.

About the Painting

In Caspar David Friedrich's "The Watzmann" (c.1824/25), the landscape takes center stage, but don’t be fooled into thinking it’s just another pretty mountain scene. This is nature as something terrifying, indifferent, and almost absurd in its grandeur. Look at that rock formation in the foreground, piled up like a precarious monument to futility. It’s as if the land itself is contorted, the hills and valleys bending, folding, and rippling in ways that feel unnervingly deliberate.

The colors start off familiar enough - the deep, earthy greens of the foreground grass and moss - but as you move further back, they get cooler, more distant, like nature withdrawing into itself. The palette shifts from greens to purples and blues, finally giving way to the snow-white peak of the Watzmann, which feels almost too clean, too perfect. That peak isn’t just a mountain; it’s an idea, an unreachable ideal. Friedrich’s always been about these contrasts - the here-and-now versus the beyond, the immediate versus the eternal.

And there’s something almost clinical about the way Friedrich paints. The brushwork is precise, like he’s trying to pin down the chaos of nature with a scalpel. But the more you look, the more you realize it’s a losing battle. That icy peak might be sharp and clear, but it’s also aloof, untouchable.

What makes this painting truly eerie is its lack of drama. There’s no storm, no calamity - just an overwhelming stillness. And in that quiet, you sense something darker: nature doesn’t care. We’re tiny, insignificant, and Friedrich is rubbing our noses in it, but in the most beautifully dispassionate way possible.

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