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The Moon Rising over the Sea, c.1822 by Caspar David Friedrich
Canvas Print - 2909-FCD

Location: Gemäldegalerie, Berlin, Germany
Original Size: 55 × 71 cm

The Moon Rising over the Sea by Caspar David Friedrich (c.1822) 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 21.4 × 28 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 Moon Rising over the Sea by Caspar David Friedrich, c.1822 - canvas print
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Giclée Canvas Print | $72.21 USD

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SKU:2909-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
21.4″ × 28″

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 16.6 × 21.7 in print therefore arrives as 19 × 24 in. Both numbers are shown in Your Selection above and change with the slider.

Yes. The slider covers every size up to 21.4 × 28 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 55 × 71 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 "Moonrise over the Sea," Caspar David Friedrich isn't just painting a scene - he's trapping you in a mood, like some kind of Romantic spell. The figures in the foreground are frozen in place, not in a moment of action, but in a contemplative pause that feels almost suffocating. They’re just watching the moon lift itself over the sea, but their stillness is louder than any gesture. The ships, mere shadows in the distance, drift silently toward the horizon - or away from it - but who really cares? They exist only to remind us of distance, of departure, of the world beyond this lonely shore.

Friedrich has a thing for vastness. He paints this scene in tones that feel cold to the touch: indigoes and lilacs dominating the sky, while the sea itself absorbs the same palette, blending into one unending plane of twilight. His handling of light is soft, understated - none of the bold, brash sunrises here. The moon sits there, pale and indifferent, almost like an afterthought, casting the faintest light onto the rocks and sea. The sea’s surface is nearly still, a mirror that refuses to reflect any warmth.

There’s something too orderly about the composition - three figures, three boats, the perfect split of land, sea, and sky. Friedrich is methodical, almost clinical, in how he positions everything. The horizon is low, stretching across the canvas like a barrier between what’s real and what’s intangible. But it’s the quiet - the emptiness of it all - that gets you. It’s beautiful, sure, but in that beauty, there’s an undercurrent of isolation, of the terrible silence that Friedrich seems to revel in.

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