03 — ARTWORK
Morning Fog
- MEDIUM
- Watercolour, paper mounted on board, 20 x 26 cm
- TYPE
- Landscape
PALETTE
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- FILE
- 1020 × 746 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Morning Fog c. 1825 WatercolourPigment ground in gum, usually gum arabic, and applied with brush and water to a painting surface, usually paper; the term also denotes a work of art executed in this medium. The pigment is ordinarily transparent but can be made opaque by mixing with a whiting and in this form is known as body colour, or gouache; it can also be mixed with casein, a phosphoprotein of milk. Watercolour compares in range and variety with any other painting method. Transparent watercolour allows for a freshness and luminosity in its washes and for a deft calligraphic brushwork that makes it a most alluring medium. There is one basic difference between transparent watercolour and all other heavy painting mediums - its transparency. The oil painter can paint one opaque colour over another until he has achieved his desired result. The whites are created with opaque white. The watercolourist's approach is the opposite. In essence, instead of building up he leaves out. The white paper creates the whites. The darkest accents may be placed on the paper with the pigment as it comes out of the tube or with very little water mixed with it. Otherwise the colours are diluted with water. The more water in the wash, the more the paper affects the colours; for example, vermilion, a warm red, will gradually turn into a cool pink as it is thinned with more water. The dry-brush technique - the use of the brush containing pigment but little water, dragged over the rough surface of the paper - creates various granular effects similar to those of crayon drawing. Whole compositions can be made in this way. This technique also may be used over dull washes to enliven them., paper mounted on board, 20 x 26 cm Nationalgalerie, Berlin
Carl Gustav Carus, though fifteen years Friedrich's junior, was a close friend, associate, and in some ways influence. Like Friedrich, he was a friend of Goethe. He was also author of important literature for the Romantic movement and its ethos. Carus, with Friedrich, was keenly interested in Dutch art of the seventeenth century and took over some of its elements. His Foggy Landscape (also known as Morning Fog) has much of the clear-eyed vision of Dutch BaroqueThe period in art history from about 1600 to about 1750. In this sense the term covers a wide range of styles and artists. In painting and sculpture there were three main forms of Baroque: (1) sumptuous display, a style associated with the Catholic Counter Reformation and the absolutist courts of Europe (Bernini, Rubens); (2) dramatic realism (Caravaggio); and (3) everyday realism, a development seen in particular in Holland (Rembrandt, Vermeer). In architecture, there was an emphasis on expressiveness and grandeur, achieved through scale, the dramatic use of light and shadow, and increasingly elaborate decoration. In a more limited sense the term Baroque often refers to the first of these categories. The development of the Baroque reflects the period's religious tensions (Catholic versus Protestant); a new and more expansive world view based on science and exploration; and the growth of absolutist monarchies. art, but it shares the freshness of contemporary works by Constable and Turner. The watercolour medium of this view was ever more popular in the nineteenth century, especially among men and women like Carus who had other careers in addition to painting and needed speedy pictorial results.
CITE THIS RECORD — BIBTEX
@online{wga-rc10d7b63416e38,
author = {Krén, Emil and Marx, Daniel},
title = {Morning Fog by CARUS, Carl Gustav},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/carus-carl-gustav-rd674f3a09f7765/morning-fog-rc10d7b63416e38},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
