Carl Gustav Carus, Winter Landscape

Staatliche Kunstsammlungen Dresden

Date: 1816-18
Technique: Oil on canvas, 22 x 28.5 cm

Carl Gustav Carus, Faust's Dream

Date: 1852
Technique: Charcoal, 43 x 59.5 cm

Carl Gustav Carus, Tintern Abbey

Private collection

Date: Unknown
Technique: Oil on canvas, 61.5 x 91.5 cm

Carl Gustav Carus, Der Erlkönig

Kunsthalle Hamburg

Date: 1906
Technique: Oil on canvas, 71 x 54 cm

Carl Gustav Carus, Cemetery in the Moonlight

Museum Georg Schäfer, Schweinfurt

Date: c. 1822
Technique: Oil on canvas, 21 × 28.5 cm

Carl Gustav Carus, Clouds of fog in Saxon Switzerland

Staatsgalerie Stuttgart

Date: c. 1828
Technique: Oil on canvas, 40 x 37 cm

Carl Gustav Carus, Castle in the Moonlight (Schloss im Mondschein)

Private collection

Date: after 1835
Technique: Unknown

Carl Gustav Carus, Ruins of the Eldena Monastery with cottage near Greifswald in Moonlight

Pommersches Landesmuseum, Greifswald

Date: 1820
Technique: Oil on canvas, 43 x 33 cm

Carl Gustav Carus, The Imperial Castle in Eger

Nasjonalgalleriet, Oslo

Date: 1824
Technique: Oil on canvas, 29 x 26 cm

Carl Gustav Carus, Faust in His Study

Date: 1852
Technique: Charcoal, 58 x 42.5 cm

Carl Gustav Carus, The Goethe Monument

Kunsthalle, Hamburg

Date: 1832
Technique: Oil on canvas, 72 x 54 cm

Carus was a great admirer of Goethe, who in turn highly appreciated both Carus's theoretical writings and his painting. Carus's painting of the Goethe monument is described in a contemporary journal as follows. "In a lonely rocky area stands Goethe's sarcophagus, and upon it a harp; moonlight falls through its strings, illuminating two angels who kneel reverently before it. Mists swirl around the base of the monument. It would seem that Goethe's manifold and magical contacts with Nature have inspired the ingenious artist to this Ossianic idea."

Goethe, who devoted himself so intensively to questions of the world and humanity, has been recast in Carus's picture into an unworldly and lonely Romantic figure. His imaginary grave evokes Romantic yearning in terms of an actual destination, an envisioned place of pilgrimage, an altar, a holy of holies.

Source

Carl Gustav Carus, Pilgrim in a Rocky Valley

Nationalgalerie, Berlin

Date: c. 1820
Technique: Oil on canvas, 28 x 22 cm
In this painting Carus adopted the view of a figure seen from behind which Friedrich had introduced; here he is hastening ahead of the viewer into the picture and anticipating his view.
In a Europe becoming remorselessly urban and industrial, the cloaked wanderer trudging away into high mountains with his pilgrim's staff, though painted in 1820, strikes a suitably symbolic farewell to the Romantic religion of nature.

Source