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The monk is absorbed in his contemplation of the sea, overwhelmed by the noise of silence, seduced by its beauty. Sky, Sea and Land, three infinite strips that shrink the presence of the solitary thinker to a bare minimum. His ancient grandeur is lost on the horizon and returned uneasily by the sea in the form of a furious storm. The vastness of the twilight produces a feeling of nostalgia, leaving a suffocating vacuum, silencing him, reducing him to nothing. Following the adventure of the Renaissance and the Enlightenment, conquered by the God of Reason, man now perceives a new anguish much greater than Medieval fear: his centrality in the universe has been displaced; he has exiled himself and broken his connection with nature. Now he wanders like a man shipwrecked in his heart. This is the tragic testimony of the heartbreaking change occurring in modern man’s feeling. All that remains is the mist in the twilight; the desire to return smothered by the impotence of conscience. Or perhaps, behind the curtain of clouds, a latent new dawn has survived in all its glory.

Rafael Argullol. La atracción del abismo. Un itinerario por el paisaje Romántico. Ed Destino. Barcelona. 1991 Various authors. Historia de las Ideas Estéticas y de las Teorías Artísticas Contemporáneas, Volumen I. Ed. Visor. La Balsa de la Medusa. Madrid. 2000
 
 
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CASPAR DAVID FRIEDRICH. 1774-1840
110*171. Oil on canvas
CONTEMPLATIVE MONK SEA. 1808-1810.
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