Ruins of the Oybin, Caspar David Friedrich, 1835
Caspar David Friedrich, portraitCaspar David FriedrichGerman, 1774–1840

Ruins of the Oybin

1835 · Painting · 27 × 21 cm

Can I see it?

Yes, on view now

Where is “Ruins of the Oybin” now? State Hermitage Museum, Room 352, Saint Petersburg. Yes, on view now. Checked August 29, 2026.

State Hermitage Museum

Saint Petersburg, Russia

Room352

Open now· until 9:00 PM

On public display.

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In this state since
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About the painting

Museum text in Russian

Картина, изображающая юношу в проеме окна готической руины, сегодня является одним из главных образов романтизма – но уже не игры в заманчивое Средневековье, характерное для XIX века, а поисков смысла бытия в гнетущей атмосфере своей эпохи, желания освободиться от ее оков. Полотно находилось в личном собрании Александры Федоровны вместе с несколькими другими полотнами Фридриха – их вы найдете на постоянной экспозиции в Главном штабе. Когда именно картина оказалась в России, неизвестно, но в 1853 году Луиджи Премацци запечатлел её в интерьере кабинета Александры Фёдоровны в Аничковом дворце.

State Hermitage Museum

Details

Accession number
ГЭ-1360

In the catalog

Sources

In the life of Caspar David Friedrich

The whole life
  1. 1825–1840

    The fading of his fame

    Over the last fifteen years of his life Friedrich’s reputation steadily declines: as the ideals of early Romanticism go out of fashion he comes to be seen as an eccentric and melancholy figure out of touch with the times, and his patrons gradually fall away. Towards the end he lives in relative poverty and spends long periods, often beginning before sunrise, walking alone through woods and fields.

  2. 1835

    Money from the Russian royal family and a cure at Teplitz

    Soon after his stroke the Russian royal family purchases a number of his earlier works, and the proceeds allow him to travel to Teplitz, in today’s Czech Republic, to recover.

  3. June 1835

    His first stroke

    Friedrich’s first stroke leaves him with minor limb paralysis and greatly reduces his ability to paint: he can no longer work in oil and is limited to watercolour, sepia and reworking older compositions. His vision remains strong, but his hand has lost its full strength.

All works

In the same room · Зал 352, State Hermitage Museum

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