Caspar David Friedrich in the context of "Rückenfigur"

German Romanticism (German: Deutsche Romantik) was the dominant intellectual movement of German-speaking countries in the late 18th and early 19th centuries, influencing philosophy, aesthetics, literature, and criticism. Compared to English Romanticism, the German variety developed relatively early, and, in the opening years, coincided with Weimar Classicism (1772–1805).

The early period, roughly 1797 to 1802, is referred to as Frühromantik or Jena Romanticism. The philosophers and writers central to the movement were Wilhelm Heinrich Wackenroder (1773–1798), Friedrich Wilhelm Joseph Schelling (1775–1854), Friedrich Schleiermacher (1768–1834), Karl Wilhelm Friedrich Schlegel (1772–1829), August Wilhelm Schlegel (1767–1845), Ludwig Tieck (1773–1853), and Friedrich von Hardenberg (Novalis) (1772–1801).

Waiting for Godot (/ˈɡɒdoʊ/ GOD-oh or /ɡəˈdoʊ/ gə-DOH) is a tragicomedy play by Irish playwright and writer Samuel Beckett, first published in 1952 by Les Éditions de Minuit. It is Beckett's reworking of his own original French-language play titled En attendant Godot, and is subtitled in English as "A tragicomedy in two acts." The play revolves around the mannerisms of the two main characters, Vladimir (Didi) and Estragon (Gogo), who engage in a variety of thoughts, dialogues and encounters while awaiting the titular Godot, who never arrives. It is Beckett's best-known literary work and is regarded by critics as "one of the most enigmatic plays of modern literature". In a poll conducted by London's Royal National Theatre in the year 1998, Waiting for Godot was voted as "the most significant English-language play of the 20th century."

The original French text was composed between 9 October 1948 and 29 January 1949. The premiere, directed by Roger Blin, was performed at the Théâtre de Babylone [fr], Paris, in January 1953. The English-language version of the play premiered in London in 1955. Though there is only one scene throughout both acts, the play is known for its numerous themes, including those relating to religious, philosophical, classical, social, psychoanalytical, and biographical settings. Beckett later stated that the painting Two Men Contemplating the Moon (1819), by Caspar David Friedrich, was a major inspiration for the play.

Romanticism (also known as the Romantic movement or Romantic era) was an artistic and intellectual movement that originated in Europe towards the end of the 18th century. The purpose of the movement was to advocate for the importance of subjectivity, imagination, and appreciation of nature in society and culture in response to the Age of Enlightenment and the Industrial Revolution.

Romanticists rejected the social conventions of the time in favour of a moral outlook known as individualism. They argued that passion and intuition were crucial to understanding the world, and that beauty is more than merely an affair of form, but rather something that evokes a strong emotional response. With this philosophical foundation, the Romanticists elevated several key themes to which they were deeply committed: a reverence for nature and the supernatural, an idealization of the past as a nobler era, a fascination with the exotic and the mysterious, and a celebration of the heroic and the sublime.

Moonrise by the Sea or Moonrise over the Sea (German: Mondaufgang am Meer) is an 1822 oil-on-canvas painting by German painter Caspar David Friedrich. The work depicts a romantic seascape.

Three young people, two women side by side and a man further back, are sitting on a large boulder by the sea, silhouetted against the sky as they watch the moon rising to the east above a band of clouds. In the distance are two sailing vessels, ghosting on a light breeze towards the spectators on the shore. The painting is probably a view of the Baltic Sea, near Friedrich's birthplace in Swedish Pomerania. It may be based on the beach at Stubbenkammer near Rügen.

Two Men Contemplating the Moon (German: Zwei Männer in Betrachtung des Mondes) and Man and Woman Contemplating the Moon are a series of similar paintings by Caspar David Friedrich, the setting being among his best-known works. Friedrich painted at least three versions, with one variation featuring a man and a woman. The 1819–20 version in the Galerie Neue Meister is considered the original; the c. 1824 variant with a woman is in the Alte Nationalgalerie; and the c. 1830 version is in the Metropolitan Museum of Art.

These German Romantic landscape paintings feature two figures in a dark forest silhouetted by a pastel sky. The works' dark foregrounds and lighter backgrounds create a sharp contrast. The sky suggests that there is a solar eclipse occurring. A dead, uprooted tree's dark roots and branches contrast with the sky. The jagged branches and stark contrasts seem to create a threatening environment for the figures, and are reminiscent of the imposing Gothic style seen initially in the medieval era, but revived in the Romantic era. The same can be said of the dark, shadowy trees and rocks surrounding the couple. The figures are dressed in dark colors and stiff, somewhat formal garments, which signify their higher class. The works emphasize spirituality in nature and the presence of the sublime, which are major themes of Friedrich.

In aesthetics, the sublime (from Latin sublīmis 'uplifted, lofty, exalted, etc.; elevated, raised') is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation. Since its first application in the field of rhetoric and drama in ancient Greece it became an important concept not just in philosophical aesthetics but also in literary theory and art history.

Wanderer above the Sea of Fog is a painting by German Romanticist artist Caspar David Friedrich in 1818. It depicts a man standing upon a rocky precipice with his back to the viewer; he is gazing out on a landscape covered in a thick sea of fog through which other ridges, trees, and mountains pierce, which stretches out into the distance indefinitely.

It is considered to be one of the masterpieces of the Romantic movement and one of its most representative works. The painting has been interpreted as an emblem of self-reflection or contemplation of life's path, and the landscape is considered to evoke the sublime. Friedrich was a common user of Rückenfigur (German: Rear-facing figure) in his paintings; Wanderer above the Sea of Fog is perhaps the most famous Rückenfigur in art due to the subject's prominence. The painting has also been interpreted as an expression of Friedrich's German liberal and nationalist feeling.

Philipp Otto Runge (German: [ˈʁʊŋə]; 1777–1810) was a German artist, draftsman, painter, and color theorist. Runge and Caspar David Friedrich are often regarded as the leading painters of the German Romantic movement. He is frequently compared with William Blake by art historians, although Runge's short ten-year career is not easy to equate to Blake's career. By all accounts he had a brilliant mind and was well versed in the literature and philosophy of his time. He was a prolific letter writer and maintained correspondences and friendships with contemporaries such as Carl Ludwig Heinrich Berger, Caspar David Friedrich, Johann Wolfgang von Goethe, Friedrich Wilhelm Joseph Schelling, Henrik Steffens, and Ludwig Tieck. His paintings are often filled with symbolism and allegories. For eight years he planned and refined his seminal project, Tageszeiten (Times of Day), four monumental paintings 50 square meters each, which in turn were only part of a larger collaborative Gesamtkunstwerk that was to include poetry, music, and architecture, but remained unrealized at the time of his death. With it he aspired to abandon the traditional iconography of Christianity in European art and find a new expression for spiritual values through symbolism in landscapes. One historian stated "In Runge's painting we are clearly dealing with the attempt to present contemporary philosophy in art." He wrote an influential volume on color theory in 1808, Sphere of Colors, that was published the same year he died.

Runge was born in 1777 in Wolgast, a town in northeast Germany on the Baltic Sea (Swedish Pomerania at that time). He contracted pulmonary tuberculosis at an early age and was in frail health throughout his life. As a youth he attended a school headed by Ludwig Gotthard Kosegarten. His father was a successful merchant and ship owner and Philipp and his older brother Daniel were groomed to follow him in his business. Daniel moved to Hamburg to manage a branch of the family business and Philipp soon followed to serve as an apprentice (ca. 1793 – 96). There he began making contact with poets, publishers, and art collectors such as Matthias Claudius, Friedrich Gottlieb Klopstock, Justus Perthes, and Johannes Michael Speckter who encouraged Runge in the arts, philosophy, and intellectual interests. He started taking drawing lessons in Hamburg in 1797 with Heinrich Joachim Herterich and Gerdt Hardorff the Elder and it was only after several years in Hamburg, in his early twenties, that Runge decided on a career as an artist.