Intermediality in New/ Romanticism: “Sonnabend abend gegen sieben, hellster Mondschein in meine Stube hinein” — Rahel Levin Varnhagen Speaks Caspar David Friedrich Renata T Fuchs University of California, Los Angeles Abstract: This article considers the features of text and image in the letters of Rahel Levin Varnhagen, who hosted the most prominent salon in Berlin, where the paintings of Caspar David Friedrich were exhibited in the Academy of Arts� It also sheds light on artistic movements in the early nineteenth century and contemporary trends, as German Romantic intermediality stems from the concept of museum, a memory device useful for the future� While Levin Varnhagen’s salon is deemed a new form of conceptual art, her letters are considered reflections on Romantic philosophy of sociability and symphilosophy with the emphasis on poeticizing and potentializing so that life becomes art and art life� Her weather vignettes visualize a portrayal of landscape in a manner of Caspar David Friedrich as they examine an instant of sublimity and constitute self-contained emotive subjects� This article contributes to the critical interest of intermediality from the perspective of Bakhtin’s dialogism and Kristeva’s intertextuality and centers on flow and passage rather than on the traditional text-to-text relationship of intertextuality� Friedrich experimented with intermediality—the mediation between literature, art, and religion—an alternative term for intertextuality� Since the concept of intermediality evolved from the new digital technologies, it is then fitting to reflect on Levin Varnhagen’s vignettes evoking Friedrich’s work as GIF’s from around 1800� Keywords: New/ Romanticism, Rahel Levin Varnhagen, Caspar David Friedrich, literary salon, letters, art, intermediality 462 Renata T Fuchs Nie muß ein Unfall dich zur Schwermuth Nie ein Glük zum Taumel bringen, Eine Thräne sei hochsten für dieses Ein Lächeln für jenes den beides gleicht sich an Wankelmuth; - (Caspar David Friedrich, Copenhagen, June 24, 1796) An accident must never depress you A fortune never cause a rapture, At the most a teardrop is for this A smile for that because both equal inconstancy; - 1 Central to the development of modernity, salons shaped the reception of new cultural movements. Good company, lively talk, and a chance to reflect on new thinking in the arts, music, science, and social change, in other words, the salon atmosphere can be only fully evoked through text, sound, and image� This article reflects on the features of text and image (intertextuality) in the context of dialogue and letters of Rahel Levin Varnhagen (1771—1833), who hosted the most prominent salon, a magnet for Romanticism in Berlin, where intellectuals met and the paintings of Caspar David Friedrich (1774—1840) were exhibited in the Academy of Arts� I position Levin Varnhagen’s salon as conceptual art where ideas and impact are more important than the quality of a finished work of art. Her letters—as an extension to salon conversations—are reflections on Romantic philosophy of sociability and symphilosophy and its emphasis on poeticizing and potentializing so that life becomes art and art life� Levin Varnhagen’s weather vignettes placed within letter header visualize a portrayal of landscape in a manner of Friedrich as they examine an instant of sublimity and constitute self-contained emotive subjects� Thus, this article contributes to the critical interest of intermediality from the perspective of Bakhtin’s dialogism and Kristeva’s intertextuality, as it centers on flow and passage rather than on the traditional text-to-text relationship of intertextuality� It also sheds light on artistic movements in the early nineteenth century and contemporary trends in art and art criticism� In German Romanticism, the interchange of medium among art, myth, mythology, and poetry stems from the concept of museum (exhibition), a medium of reflection and memory device useful for the future� Romantic intermediality includes a principle of art criticism that involves the change between the media of pictures and writing� Intermediality in New/ Romanticism 463 Friedrich experimented with the mediation between literature, art, and religion, in short with intermediality—an alternative term for intertextuality� Since the concept evolved from the new digital technologies, it is then fitting to reflect on Levin Varnhagen’s vignettes evoking Friedrich’s work as GIF’s from around 1800� The literati of Jena Romanticism—Friedrich and August Wilhelm Schlegel, Dorothea Mendelssohn Veit (later Schlegel, after her marriage to Friedrich in 1804), Georg Philipp Friedrich Hardenberg (pseudonym Novalis), Ludwig Tieck, Friedrich Schelling, Caroline Michaelis Böhmer Schlegel (later Schelling, after her marriage to Friedrich in 1803), Friedrich Schleiermacher, and Friedrich Hölderlin—were acquainted with Caspar David Friedrich and familiar with his works� Intellectuals like Goethe, Schopenhauer or Schleiermacher visited his atelier in Dresden� During his visit, Schleiermacher, who based his groundbreaking theoretical work, Versuch einer Theorie des geselligen Betragens (1799, Essay on Theory of Sociable Behavior, 2006) on sociability in Berlin salons (Arndt 45—62), was accompanied by two of the most celebrated Berlin salonnières Henriette Herz, his close friend, and Rahel Levin Varnhagen� Sociability was the foundation of symphilosophy, which the Romantics understood as an ideal confluence of compatible creative minds whose writing and discussion moved ideas back and forth, molded, refined, merged, and expanded them, until one could no longer distinguish where one’s own contribution ended and that of another began� Levin Varnhagen perceived the salon as social opportunity to display a practice of life from which she, a Jew and a woman, was banned elsewhere, that is, she considered herself to be the object of an actual process of social change and treated her social gatherings that way� She made sociability purposeful rather than disinterested, in hopes that it would offer guidance and insight into the state of human affairs. 2 She insisted that the salon brought her a true enjoyment of life, hence, life and art belonged together since they had an impact on each other: “Verhält es sich aber mit dem Leben anders, als mit der Kunst? ” (Varnhagen von Ense VIII, 654; But is it not the same with life as with art? )� The rhetorical question posed to her friend Brinckmann indicates that she considered the salon to be an aesthetic space and practice, through which the real life displays itself, encourages art production, and implies intermediality� In German Romanticism, the change of medium among art, myth, mythology, and poetry stems from the concept of museum and plays a central role in the philosophy of the period� When Johann Diederich Gries, Novalis, Friedrich Wilhelm Schelling with Caroline Schelling, August Wilhelm, and Friedrich Schlegel visited the antique art gallery in Dresden when and where Friedrich was a student, they saw it in a Romantic light as if it were petrified mythology. Thus 464 Renata T Fuchs Novalis came to conclusion: “Die Gemälde Gallerie ist eine Vorrathskammer indirekter Reitze aller Art für den Dichter” (in Schanze 270; For the poet, the painting gallery is a storeroom of an indirect stimuli of all sorts)� Around 1799, he occupied himself with the question of mathematical series, on which he based his “ächte Kritik” (genuine critique) of literary Romanticism in the context of the art gallery and art contemplation. In “Studien zur bildenden Kunst” (the Study of Visual Arts), he noted: “‘Alles Sichtbare hänge am ‘Unsichtbaren,’ das ‘Hörbare am Unhörbaren,’ das ‘Fühlbare am Unfählbaren’ und ‘vielleicht’ das ‘Denkbare am Undenkbaren’” (in Schanze 270; All visible depends on the invisible, the audible on the inaudible, the tangible on the spiritual, and perhaps the thinkable on the unlikely)� Hence the exhibited art becomes for Novalis a medium of reflection, a principle of art criticism that involves the change between the media of pictures and writing, a storage medium or memory device useful for the future artistic production affecting all media, including poetry and art according to the term of the museum, used around 1800, as the space of all arts, the space of the study of all sciences� Consequently, Novalis established and formulated the program of Romanticism in the sense of the “progressive universal poetry” that unites all the literary and artistic forms (Schanze 272)� Levin Varnhagen attributed the aesthetic qualities of her salon to its dialogical structure that brought together women and men, Jews and Christians, aristocrats and middle class in a setting where customary social constraints and segregations could be suspended� The heterogenization of social constellations rooted in acceptance and tolerance was largely practiced in the salons, which were simultaneously spaces of aesthetic importance� She stressed that good conversation must include elements of culture and nature and does not see a contradiction between “lebendigen Gesprächen” (alive conversations) and “kunstvollen Gesprächen” (artistic conversations) because for her, “living” conversations were, in fact, aesthetic (Varnhagen von Ense VIII, 654)� She treated the conversations as they transpired in the salon as installation art which involved the configuration or installation of objects in a space, such as a room; hence, the resulting arrangement of material and space comprised the artwork� Installation art allows the viewer to enter and move around the configured space and interact with some of its elements; it offers the viewer a very different experience because of its flexibility and three-dimensionality. Additionally, it engages several senses including touch, sound, and smell, as well as vision� Her salon belongs to the genre of conceptual art 3 in which ideas and impact are more important than the quality of a finished work of art since an installation is a purely temporary work of art, and the only evidence of its existence are letters and memoirs� Thus, an installation allows for an experience of an encounter with the artwork and rethinking people’s attitudes and values. The first methodological characteristic of conceptual art is that it radically shifts the emphasis from representation to indexicalization since it moves away from the visual and the phenomenological or the retinal, which appeals mainly to the eye rather than to the mind and points to things in an idea-driven way, as in Duchamp’s concept of art� 4 The second characteristic is that it suspends authorship by unhinging artistic practice from representation toward a collective process, as postulated in Weiner’s “Declaration of Intent” (1968)� 5 Hence, a totalization of aesthetic experience is in effect a proposal for the merging of art and life. In that sense, the intermediality of the salon was a harbinger of the contemporary intermediality aesthetics, as manifested in networks of communication and their technologies� In recent years, there has been an interest in seeing various aspects of the digital world as the new form of Romanticism� 6 The contemporary circles of intermedial experts in comparative media studies represent a wide range of disciplines (literature, philosophy, history, art history, theatre, cinema, music, video, dance, media, communications, linguistics, and anthropology) and are as close as a family since they share so many interests, concepts, and research areas that it is almost impossible to classify them into distinct heuristic categories� 7 This milieu resembles the Jena circle whose members were family and close friends, and who collaborated within the framework of sociability and symphilosophy but expanded beyond the boundaries of the circle and encompassed those who stayed in touch through the salon and correspondence� Within Digital Humanities, the study of various social networking technologies, such as crowdsourcing, enhances community engagement and is increasingly a popular way of gathering content inside an academic environment� 8 Collaborative working—the premise of symphilosophy—was operative in the salons at the time when the heyday of salon culture coincided with a structural change of the literary system prompted by the expansion of literary market (Seibert 204)� The salons served the author by offering promotion and fostering the dialogue (Seibert 208) and cultivated the idea of “the whole autor” thus reflecting the dual character of the salon as public and private space that allowed to receive and integrate the author as a public and a private person (Seibert 212)� Romantic letter dialogues, as the continuation of salon conversations, are operative in our social media and in digital projects as networks of communication� This new form of the letter revives and revises a Romantic view of culture and human experience and a living legacy of Romanticism with its critical, multinational, multicultural, and multilingual impulses dependent on Romantic theories, themes, and convictions that emerged in Jena in the 1790s (“Digital Media Network Projects” 221)� As old and new media collide and connect via intermediality, 9 in my analysis I further reflect on Levin Varnhagen’s vignettes evoking Friedrich’s painting as GIF’s from around 1800� Intermediality in New/ Romanticism 465 466 Renata T Fuchs Levin Varnhagen merged life and art when she approached the salon conversations as installation art since for her “living” conversations were aesthetic� As those conversations continued and were broadened through letter exchanges, the letter genre itself was transformed into art form� Her handwritten letters were performances on paper, as these lively impressions took shape in endless variations, intertwining language and art� With each letter, she chose the penmanship style, utensils, and paper and constructed a system of writing with attention to formal properties of line and form� Most of the time she would separate the header of the letter (date, place, destination, weather description); she would underline words or sentences for emphasis, add post scriptum notes, continue writing on subsequent days and add another letter underneath the one written on the previous day� The logistics of designing her thoughts on paper gave her letters the aesthetic form, which lends them a certain visual energy� As a matter of fact, the first edition of her correspondence that came out in summer 1833 was printed “als Handschrift” ( Rahel. Ein Buch des Andenkens VI� 368; as handwriting)� The salon and its brainchild, the letter, can be productively explored through the concept of intermediality—the ways in which textual material cultures mediate and meditate on non-literary cultural artifacts and concepts—and within this framework through Mikhail Bakhtin’s dialogism and Julia Kristeva’s intertextuality. Kristeva saw Bahktin’s concept of dialogism as quintessentially dynamic since it tried to revolutionize not only the static structural model but cultural politics in general� According to Bakhtin, everything stands under the same sign of plurality� Our lives are surrounded by the echoes of a dialogue that undermines the authority of any single voice, a dialogue that takes place within the text, but which is at the same time, is a dialogue with all the voices outside it� 10 Kristeva’s concept of intertextuality requires, therefore, that we understand texts not as self-contained systems but as differential and historical, as traces and tracings of otherness, since they are shaped by the repetition and transformation of other textual structures (Alfaro 268)� Thus intertextuality is intrinsically connected to dialogicity and already practiced in a dedicated symphilosohical manner in the salon since salon conversations and letter dialogues are forms of symphilosophy and sympoetry as not only the writer but also the reader is invited to take part in this kind of communication which becomes complete only in a dialogue of present, past, and future and connects life with art (Segeberg 41)� These modes of writing continue to release new meanings long after their authors’ death (Schlegel 297)� The most astonishing aspect of Levin Varnhagen’s salon is that she created a new practice of writing as she worked to establish a network of people who would self-consciously engage in this kind of dialogicity as a common enterprise� In contrast to the notions of authorship that appeared in Europe around 1800, which anchored writing in the exceptional individual, here a heterogeneous group of people was producing something together using the letter genre of literature and actively engaging in the practice of Romantic philosophy� The letter collection Levin Varnhagen had started as a young woman contains an assortment of correspondence from a diverse group of people, namely, from famous aristocrats and her unknown cook; from influential politicians and unestablished writers; from actresses and philosophers; from acculturated emancipated Jewish women and young gentile intellectuals� She was in contact with more than three hundred people and her archive consists of some six thousand letters� In her productivity and attempt to communicate her understanding and perception of philosophy and music, literature and politics, Levin Varnhagen navigated and traversed disciplinary boundaries and established fields of knowledge� Levin Varnhagen’s personal encounters with her guests were compensated with and continued in letter exchanges, and she referred to her letters as conversations, as if they were alive� One of her close friends, Friedrich von Genz, observed that her letters felt as if they were not written objects but real people “die mit schönen, lieben, weichen Händen, vollen Busen, kleinen Füßen, göttlichen Augen, besonders göttlichen roten Lippen einhergehen, vor mir auf und ab spazieren, mich küssen, mich an ihre Brust drücken” (who with pretty, loving, soft hands, full breasts, little feet, divine eyes, especially divine red lips appear, walk in front of me back and forth, kiss me, press me against their chest)� 11 Moreover, through art and not only through will, her letters become written words on paper: “Nämlich, ich mag nie eine Rede schreiben, sondern will Gespräche schreiben, wie sie lebendig in Menschen vorgehn, und erst durch Willen und Kunst—wenn Sie wollen—wie ein Herbarium, nach einer immer toten Ordnung hingelegt werden” (Actually, I never like to write a speech, but I rather want to write conversations, how they lively transpire in people, and first through intention and art—if they wish—like a herbarium, are arranged according to a dead order)� 12 “Eine Rede” (a speech) is not a dialogue, but a monologue, and Levin Varnhagen prefers dialogues that she then arranges into art pieces ordered as aesthetically pleasing creations, not just spontaneous expressions: “Aber auch meine Gespräche sind nicht ohne Kunst; das heißt ohne Beurteilung meiner selbst, ohne Anordnung” (But also my conversations are not without art; that is without evaluation of myself, without arrangement)� 13 The transfer of the living conversation onto the paper is not unmethodical, but rather shows a determined pattern of presenting the exact circumstance under which each letter is composed, including descriptions of the setting and her frame of mind� She does so while switching between formal and colloquial, German and French Intermediality in New/ Romanticism 467 468 Renata T Fuchs languages� Precisely because of this close coupling of life and writing, of the quotidian and the poetic, of artistic creation and aesthetic reflection, her letter writing is uniquely Romantic� It has been argued that artists create a sense of place through handwriting because it serves as an extension of an artistic process� 14 Yet, letter writing was not Caspar David Friedrich’s forte, as he admitted himself: “Schreiben, ein gefährlich Ding für mich. Ich komme mir mit der Feder in der Hand vor wie einer der in einen tiefen Sumpf gerathen, wo er mit jeden Schritte weiter immer tiefer sinkt; woher es denn auch kommen mag daß meine Briefe nie lang sind, aus Furcht nicht etwa ganz zu versinken und zu ersticken” (Zschoche 12; Writing, a dangerous thing for me� With the pen in hand, I feel like someone who fell into a swamp, where he sinks deeper with each step; that is why my letters are never long, because of the fear of sinking and suffocating totally). That is why the lack of correspondence between Levin Varnhagen and Friedrich should not be surprising� Friedrich’s paintings attracted attention of the Berlin circle around Levin Varnhagen� She and her close friend Alexander von der Marwitz visited Friedrich in September 1811� They were also connected through Goethe, whom Levin Varnhagen promoted, as her salon constituted the pinnacle of the Goethe veneration� 15 In his diary Goethe expressed the admiration for two of Friedrich‘s paintings, “Mönch am Meer” and “Abtei im Eichwald” (1808—10; The Monk by the Sea; 1808-10; The Abbey in the Oak Woods) with the word: “wunderbar” (Zschoche 82; wonderful)� The painter Friedrich argued with the poet Goethe against the entitlement of natural sciences to explain the meaning and purpose of the world through their geological, botanical, and meteorological findings. Consequently Friedrich refused Goethe’s request to paint Luke Howard’s cloud classification even though he was aware that Goethe considered his approach as corrupting: “daß man die Natur nicht nach Kunstwerken studiren müßte sondern aus ihr der Natur selbst erkennen lernen müßte� Goethe hat kürzlich einer Künstlerin so nach Dresden ging gerathen mich zwar zu besuchen, aber sich ja nicht durch meine Reden verführen zu lassen” (Zschoche 70; that one should study the nature not according to artworks, but rather from the nature itself, one should learn how to recognize it� Not long ago Goethe advised an artist, who happened to come to Dresden, to certainly visit me, but not to get tempted through my talk)� In this sense, Friedrich’s Romanticism was not simply opposing the Enlightenment, but rather it manifested its reflective side, an experimental and at times ironic counterpart to a systematic, rationalistic conception of reason� It was an explicit critique of the kind of thinking which supplied ideological legitimization of the logic of material constraints and power struggles that were an essential part of the emergence of industrialization and mass society. Friedrich was first and foremost concerned with reflective thinking. Friedrich remained dedicated to his world of art and literature often combining the two: already early in his life in Greifswald he got acquainted with the poetry of Ludwig Kosegarten; around 1800 he sketched two scenes from Schiller’s Die Räuber ; in December 1809 Caroline Bardua wrote to Goethe: “Friedrich, der LandschaftsMaler hat das Gedicht Schäfers “Klage zur Freude” aller, die es sahn, gemalt” (Friedrich, the landscape painter, painted Schäfers’s poem, “Lament to Joy” for all who saw it)—here the island Rügen with a rainbow was meant; and a transcript of Goethe’s poem “Amor als Landschaftsmaler” (Cupid as a Landscape Painter) was found in Friedrich‘s estate (Zschoche 141)� When the Danish writer Peder Hjort came to Dresden, he wrote to his fiancée: “Friedrich war ich durch Sibbern emphohlen worden. Meine Kenntnisse der deutschen Lyrik und mein lebhaftes Interesse an der Malerei brachten uns einander nahe� Er malt eigentlich lyrische Gedichte” (Zschoche 72; I was recommended to Friedrich through Sibbern� My knowledge of German poetry and my lively interest in painting brought us together� He actually paints lyrical poems)� Philipp Veit shared with Friedrich two poems by Joseph Eichendorff, who met with Friedrich in Dresden and whose poems influenced Friedrich’s paintings featuring the shining moon (Zschoche 94)� In a manner of speaking, Friedrich painted lyrical poems—according to his contemporaries—while Eichendorff—as literary critics observe today—painted landscapes with his words that equal those of Friedrich (Zschoche 72)� In the opinion of his wife Caroline, his idiosyncratic pictures were often inspired by literature: “mein Mann sitzt in der Nebenstube und wird Lesen” (Zschoche 12; my husband sits in the room nearby and most likely reads)� That is, he did not write, but rather painted literature and poetry� When writing—as demonstrated at the opening of this article with his own poem dedicated to a fellow student in Copenhagen—he arranged the words and lines as if they were an illustration: the first and last line are the longest and appear to be the steady and balanced ones keeping the stanza secure� The poem ends with the word Wankelmuth (inconstancy) followed by two punctuation marks, a colon and a dash (; -) that seem to wink at the reader, just like the contemporary emoji, as if saying, take it with a grain of salt� Friedrich experimented with the mediation between literature, the arts, and religion, that is with intermediality, which is a critical term proposed as an alternative to intertextuality and thus foregrounds the notion of intersections rather than that of intertextuality strictu sensu�” 16 Creatively, the narrative and painting merge in a new way; the painting writes poetry� The departing point for Friedrich is quite traditionally to represent the nature and the human being� By positioning contemplating human beings in the middle of his composition, Intermediality in New/ Romanticism 469 470 Renata T Fuchs Friedrich creates a new myth, a transcendental art of painting (Schanze 272)� The figures substitute for the observer who is supposed to follow the artist’s Romantic transcendence� According to the art historian Werner Busch this approach characterizes Friedrich’s painting; the viewers sense (ahnen) that there is something special in his paintings, and through this inkling become captivated by the image (Thiele 1)� Permeated with the deep religiosity of the painter, his paintings are witness to a wish of transcendental wisdom� Death and afterlife are not accidentally the paramount themes of his works� The sixth of ten children, Friedrich was born into a strict Lutheran family and experienced tragedy at an early age, losing his mother at the age of seven, and two sisters to childhood illnesses� Perhaps the most impactful fatality was the death of his brother, Johann, who drowned while trying to rescue the then thirteen-year-old artist when he fell through the ice� Inevitably many of his paintings depict an intensive debate with death and a prospective existence thereafter� Believing that only the majesty of the natural world could reflect the magnificence of the divine, Friedrich featured sunlight vistas and foggy expanses to disclose the power of the infinite. As he took the genre of landscape painting, traditionally considered unimportant, and infused it with spiritual significance, Friedrich created works that directly confronted the viewer with the wondrous� “Mönch am Meer” (1808-10; The Monk by the Sea) is arguably one of Friedrich's most important and well-known works since it launched the artist to international fame when it was on display along with “The Abbey in the Oak Woods” (1808—10) at the 1810 art exhibition in Berlin and was acquired by the Prussian King for his collection. When Friedrich worked on “The Monk by the Sea,” Schleiermacher, who as a member of the section for public education of the Berlin ministry was also responsible for the Academy of Arts, convinced him to send the painting to Berlin to participate in the exhibition� They spoke about the “hingepinselten Gedanken” (painted thoughts) of the artist who emphasized the religious thought about human nothingness with respect to the universe and its creator that coincided with the thoughts of the theologian Schleiermacher, whose writings the painter knew and appreciated (Zschoche 71)� It is a masterpiece of minimalism and pictorial restraint that demonstrates Friedrich's experimental spirit as he discarded any traditional approach to landscape painting while conjuring a felt sensation of awe, wonder, and humility� It represents Friedrich’s approach to investing the landscape painting with a deeper significance and connection to the viewer, namely, the use of a proxy, Rückenfigur (the solitary figure) turned towards and in communion with the landscape rather than facing the viewer, the recipient of the painting� In one of his letters, Friedrich reports about “The Monk by the Sea” in a compelling manner� His account is divided into “Beschreibungen” (descriptions) and “Gedanken” (thoughts)� The descriptions delineate that which can be perceived by the eye: “Es ist nemlich ein Seestük, Vorne ein öder sandiger Strand, dann, das bewegte Meer; und so die Luft� Am Strande geht Tiefsinnig ein Mann, im schwarzen Gewande; Möfen fliegen ängstlich schreient um ihn her; als wollten sie Ihm warnen, sich nicht auf ungestümmen Meer zu Wagen” (Zschoche 64; It is namely a sea piece� In front, a dreary beach, then the moving see; and such the air� On the beach, there is a man walking thoughtfully, in a black garb; the seagulls fly around him screaming fearfully; as if they wanted to warn him, not to dare go to the stormy see)� Then he proceeds to comment on his thoughts: Und sännest du auch vom Morgen bis zum Abend, vom Abend bis zur sinkenden Mitternacht; dennoch würdest du nicht ersinnen, nicht ergründen, das unerforschliche Jenseits! Mit übermüthigen Dünkel, wennest (wähnst) du der Nachwelt ein Licht zu werden, zu enträzlen der Zukunft Dunkelheit! Was heilige Ahndung nur ist, nur im Glauben gesehen und erkannt; endlich klahr zu wissen und zu Verstehen! Tief zwar sind deine Fußstapfen am öden sandigen Strandte; doch ein leiser Wind weht darüber hin, und deine Spuhr wird nicht mehr gesehen (Zschoche 64; And if your were immersed in thought from morning till evening, from evening till the end of midnight; still you wouldn’t conceive, fathom the inscrutable afterlife! With boisterous arrogance, you believe to become a light for the posterity, to demystify the future darkness! What is only a holy premonition, seen and recognized by faith only; finally to know clearly and to understand! To be sure, your footprints are deep on the deserted sandy beach; but a quiet wind is blowing thereon, and your track will no longer be seen)� Instead of illustrating a scene, Friedrich has created an opportunity for the viewer to experience a range of emotions that he, the artist, only suggests and thus facilitates a favorable occasion to understand nature and, by extension, the divine� With this bare minimum, the viewer is left with only sensory information that the brain collects from immersing itself in the scene and imagines hearing, smelling, tasting, and touching� While creating the painting, the artist himself was faced with a wide range of emotions that prompted him to make significant changes in his work� Thus, when taking a look at “The Monk by the Sea,” in June 1809, Mrs. von Kügelgen saw still a “peaceful” sky; then Friedrich started talking about a rough sea and moving air and transformed the scene accordingly; and in September 1810, when Frommann took a glimpse at “The Monk by the Sea,” he saw a night sky with a waning moon (Zschoche 66)� According to this report, the painting would have been once more repainted shortly before Intermediality in New/ Romanticism 471 472 Renata T Fuchs the Berlin exhibition and before the famous Heinrich von Kleist’s review on October 13 (Zschoche 72)� In one of his letters, Friedrich chooses to interpret the painting in the context of Goethe’s Faust and its legendary complaint: “Zwei Seelen wohnen! ach! in meiner Brust […]” (Zschoche 74; Two souls live! oh! in my breast […]). The painter describes the conflict between the elevated Christian faith and his worldly actions and aspirations that encompasses the Faustian desire for knowledge� The Faustian pursuit to know no bounds represents Romantic attitude with the tendency to lose oneself in becoming devoid of purpose—to become one’s own self� “Monk by the Sea” is a visual depiction of the Romantic pursuit of the desired unity between subject and object, finite and absolute, immanence and transcendence, as the reality becomes aestheticized thus forging a new language for transcendence in an age that had come to think in terms of immanence� Because Friedrich suffered from depression and melancholy, “The Monk by the Sea” has been interpreted as an artistic message about the mastery of pain, loneliness, powerlessness, experience of loss� It serves as an example of human ability to survive and resist unbearable pain (Gattig 40)� Two souls occupying one body could stand for bipolar disorder that causes extreme mood swings, emotional highs and lows� Manic episodes could include symptoms such as high energy, reduced need for sleep, and loss of touch with reality� Depressive episodes would involve low energy and motivation along with loss of interest in daily activities� The visual minimalism of Friedrich’s paintings—subtle color palette and emphasis on light, creating an overwhelming sense of emptiness—conveyed profound ideas� The potential for deep meaning in a sparse non-narrative style was critical to modernist abstraction� This painting, in particular, has been linked with the post-World War II Color Field paintings of Mark Rothko, also intended to cultivate a spiritual experience for the viewer� Taking into account the way Friedrich transformed his paintings while working on them (just as in the example above about “The Monk by the Sea”), together with experimenting with them in a 3-dimentional spectacles involving candle light and shadow, and the final product being a precursor to modernist abstraction, his work can be theoretically connected to contemporary intermedial phenomena related to digital media, for instance Snapchat, where pictures and messages are available only for a short time before they become inaccessible to the recipient� The new critical concept of intersection or intermediality is centered on flow and passage rather than on intertextuality, and it evolved from the new digital technologies, but that factor should not preclude its validity in the analysis of nineteenth-century cultural production� As a matter of fact, the notion of intermediality helps to bridge the disparity between modern and postmodern� In that respect, Friedrich gives the nod to F. Schlegel who arguably was first and foremost concerned with reflective thinking, because of its virtue of limitless capacity by which it makes every prior reflection into the object of a subsequent reflection. Levin Varnhagen was concerned with reflective thinking, similarly to Friedrich, who was persistent in being committed to both, the realm of art and that of literature and philosophy� In his “Äußerungen,” (Observations), Friedrich writes: “Der Maler soll nicht bloß malen, was er vor sich sieht, sondern auch, was er in sich sieht� Sieht er aber nichts in sich, so unterlasse er auch zu malen, was er vor sich sieht” (Zschoche 112; The painter should not simply paint what he sees in front of him, but rather also that which he does not see)� His work, expressing symbolically the inner world of man, can be then perceived as a psychoanalytical contribution to and enrichment of the fine arts while conveying the Romantic Sehnsucht (yearning) for harmony with the nature� His paintings reveal the methodological characteristic of conceptual art of indexicalization, for instance, the symbol of the owl was one of his favorites� During the last years of his life, he included the owl as the symbol of wisdom, especially in the sepia pictures� Letters of Levin Varnhagen disclose that same approach with the reference to her observations. Her letter to their mutual friend Henrik Steffens reads almost as a description of a painting but with a philosophical twist: Mittwoch, den 7. März 1827. 11 Uhr Morgens. Sonnenschein; ja, aber melancholisch ist er, so hell er auch macht: er erregt Vorstellungen, Erinnerungen, die er nicht erfüllt: durch die Scheiben die angedunkelten Dächer gegen erhelltes Blau zu sehen, ist schön; und das Ganze der Luft, der Helligkeit, zieht wie Lichter und Lüfte des erlösten Frühlings durchs Herz; denn, jede Jahr-, Monat- und Tageszeit hat ihre eigene Proportion von Licht und Luft� Aber dies alles gehet in unorganisiertem, formlosen, krampfvollen Wetter vor sich, wo eine Art Wind, wie ein toller böser Hund, bis tief unten gekommen ist, und die Erde mit seiner Schnauze gepackt hat und zaust� So ist er—hat man so etwas erlebt ! —sein längerer Zeit, jetzt heftig klagt, wenn er aus Süden kommt. Seit mehreren Jahren giebt es nur noch erlöste Augenblicke , wo eine Jahrszeit herrscht, und frei ist, ohne bis in Minuten hinein mit - beinah allen - andern gemischt das zu sein, zu wirken und zu kämpfen. Ich bin der Kampfplatz, und meine ganze Lebenssaat ist endlich davon fast aufgezehrt, zerstört, und hin. Dies fühle ich viele viele Jahre nun schon mit gesteigertem Bewußtsein! ( Rahel. Ein Buch des Andenkens III� 118; Wednesday, March 7, 1827� 11am� Sunny; yes, but it’s melancholy, regardless of how light it is: it triggers ideas, memories, that it doesn’t fulfill: it is nice to see through the window panes darkened roofs against the illuminated blue; and the whole of the air, the brightness pulls through the heart like the lights and the air of the freed spring; because each year, month, daytime has its proportion of light and air� But all Intermediality in New/ Romanticism 473 474 Renata T Fuchs of this happens in unorganized, formless, violent weather, where a sort of wind, like a mad bad dog, penetrated the earth down deep with his snout and messed it up� This is how it is—has anyone experienced anything like that! —for a longer time now it has been wailing when it comes from the South� For many years now, there are only saved moments, when a season rules, and is free, without even minutes—for almost all—to be mingled with others to be that, to have effect, to fight. I am the battlefield, and my whole origin of life is finally sapped, destroyed, and torn. I have been feeling this for many many years and now with increased awareness)� Here, we hear the echoes of what Novalis claimed that everything visible depends on that which is not visible, everything hearable depends on that which is silent, everything tangible depends on that which is impalpable, perhaps that which is imaginable depends on that which is unthinkable� As Levin Varnhagen seems to paint the weather with her words, the letter is a medium of reflection for her just like the exhibited art in the museum for Novalis� Friedrich's moody landscapes, which often thrust the viewer into the wilds of nature, created an emotional connection with the viewer rather than a more literal interaction with the scene. In this particular letter to H. Steffens, Levin Varnhagen included one of her weather vignettes� Most of the time, she created a letter heading— separated from the body of the letter—that introduced her to the letter recipient in that it stated when (date), where (place), and under which circumstances (weather and sometimes mood) she wrote� However, she did not simply skip forward to the salutation or to the opening of the letter, but elaborated on her vignettes by being very specific about the weather conditions, the looks of the surroundings, or her state of mind� In case of longer elaborations, the vignettes directly open the letters� Just as Friedrich reported about “The Monk by the Sea” by dividing his account into “Beschreibungen” (descriptions) and “Gedanken” (thoughts), Levin Varnhagen used her weather descriptions as small paintings, pictures, or vignettes that describe not only that which is visible to the eye, but also the inner image, that of her mind and thus set up the stage for her thoughts to be presented. This feature fits within the aesthetics of Romantic philosophy because of its fragmentary character� A vital element of Romantic philosophy is the fragmentary character of work—as postulated by F� Schlegel in his “Athenaeum Fragments”—that stimulates the idea of Romantic irony, as the completeness of the fragment lies in the incompletion of its infinity; consequently, we are faced with the infinite chaos of possibilities. The fragment in space and time, the interrelation between fragmentary thinking and philosophical thought, and the fragmentation of language and the lyric voice are all Postmodern symptoms well established in the philosophy of Romanticism (Beiser 4)� 17 This quality in conceptual art makes work mentally interesting to the spectator; hence, as claimed by Sol LeWitt, “Conceptual artists are mystics rather than rationalists […] they leap to conclusions that logic cannot reach” (82). Because Levin Varnhagen treated the conversations that transpired in the salon as installation art and referred to her letters as conversations, as if they were alive people, she ascribed certain movement to the words on paper� In like manner, Friedrich while creating “The Monk by the Sea” let his emotions dictate the mood in the painting by constructing the weather accordingly so that a calm sky underwent a few transformations as witnessed by various visitors to his atelier� These weather alterations if filmed, would be a moving picture. In that sense, one can think about Levin Varnhagen’s weather vignettes as Romantic GIF’s from around 1800, that is, “Graphics Interchange Format,” computer files used for sending and displaying images on social media� Levin Varnhagen’s evocation of the movement in the vignettes—on creative and theoretical level—can be perceived as being similar to the animation of the Postmodern GIFs� Dismissing the picturesque traditions of landscape painting, Friedrich embraced the Romantic notion of the sublime� Through his intuitive representations of mist, fog, darkness, and light, the artist communicated the infinite power and timelessness of the natural realm while reminding the viewer of his frailty and insignificance. In a letter to Minna von Zielinski that features an ideal moon night consistent with the methodology of Friedrich, Levin Varnhagen addresses the subject of illness, a theme that continues throughout her entire correspondence: Sonntag Vormittag, halb 11 Uhr, den 25� September 1831� Halbes Sonnenwetter; sie ist hinter einem grauwolkigen Himmel; bald da, bald nicht; nach einer idealischen Mondnacht, die ordentlich nahrhaftes Wetter in sich hatte: aber dies bringt bei uns jedesmal Regen in den ersten zwölf Stunden. Wie muß diese Nacht bei Ihnen gewesen sein! […] (meine Theorie dieser Krankheit)—, Wie gönne ich Ihnen Ihr Zuhause! Ihre Muße, Stille, Aufgeräumtheit der Zimmer, Möglichkeit zum Fleiß, den Horizont, die Lichter, den Umriß der Bäume, den Himmel, das Wolkenspiel, die freie Luft, den Geruch, die Farben, das schwanken der Bäume und Gewächse, des Windes Töne, das Wasser, den Garten, alles, alles! Es ist eine Erholung, wenn ich mir Sie in diesem Rettungs-Asyl denke! Genießen Sie es in Ermanglung von etwas andrem! Und—glauben Sie, liebe Minna, es giebt nichts anderes; es giebt es wohl, aber man bekommt es nicht: oder vielmehr man kann es nicht haben; heißt, nicht behalten, nicht anwenden ( Rahel. Ein Buch des Andenkens 441; Sunday mid-morning, 10: 30 a�m�, September 25, 1831� Half-sunny weather; the sun is behind a grey-clouded sky; almost here, then away; after an ideal moon night, that had in itself a truly clownish weather: but every time this brings to us the rain in the first twelve hours. How this night must have been Intermediality in New/ Romanticism 475 476 Renata T Fuchs for you! […] (my theory of this illness)—, how I want you to enjoy your house! The leisure, stillness, vastness of the rooms, possibility of diligence, the horizon of lights, the contour of the trees, the sky, the interplay of light and shadow of clouds, the open air, the smell, the colors, the swaying trees, the plants, the wind tones, the water, the garden, everything, everything! It is a recovery, when I think of you in this rescue asylum! Enjoy it in the absence of anything else! And—believe me, dear Minna, there is nothing else; arguably there is, but one can’t get it: or even more so, one cannot have it; that is, not to hold on to it, not use it)� Here there are actually two weather vignettes: one about the weather that Levin Varnhagen observes and another one describing what her friend is experiencing� The remarkable juxtaposition of these two landscapes creates a sharp contrast between the murky day outside and an unchecked amount of time spent inside involving the safe leisure of observing the weather from the inside� The ominous darkness and the wet outside are contrasted with the light and lightness of the safe sanctuary inside� Levin Varnhagen’s description of what her friend should enjoy regardless of her illness, resembles a painting of a landscape, an open unrestricted space filled with color and even smell where the playful movement of clouds can be seen� Her message is uplifting and full of energy although not naive� Levin Varnhagen, celebrated by Heinrich Heine as the most ingenious woman of the universe, by Leopold Ranke as the wittiest woman in Europe, and by Jean Paul as the most humorous woman was also able to approach the process of aging in an imaginative and original manner, as she wrote to Friedrich Gentz: Mittwoch, den 23� November 1831� Dunstiges, trübes, feuchtes, nebliges Novemberwetter; hinter welchem, wirklich wie hinter einem weiten Schleier, die Sonne kiekelt� Und so ist es mit allen uns bewußten Dingen: das Schöne will hervor, das Gute, das Reine, das Freie, Glück ( unverletztes ), Heiligkeit! Alles ist gestört: Chaos lebt noch. So sehe ich endlich im Alter unsern Zustand, in intellektueller, naturhistorischer, ethischer, politischer Hinsicht an� Das wort steht da: Alter� Aber nicht unglücklicher bin ich, als in der Jugend. Keinen heftigeren Herzenszustand giebt es in dieser Welt, als den, glücklich sein zu wollen; dies zu erhoffen; noch zu glauben, daß solche Zustände für irgend jemand exitieren: der ganz feinsinnig, tief, und blühend intelligent ist, und ein starkes, und zartes Herz hat; darunter versteh ich das ganze Faser- und Nervensystem, mit allen seinen Dependenzen ( Rahel. Ein Buch des Andenkens 459; Wednesday, November 23, 1831� Misty, cloudy, wet, foggy November weather, behind which, truly as if from behind a wide veil, the sun looks out� And that’s the way it is with all of us conscious beings: the beautiful wants to emerge, the good, the pure, the free, luck (unharmed), holiness! Everything is destroyed: chaos lives on. So at this age, I finally see our condition, in intellectual, natural-historical, ethical, political way� The word is here: the old age� But I am not unhappier than in my younger days� There is no heart condition more intense in this world as wanting to be happy; to hope for that; to still believe in that, that such situations exist for someone: who is very sensitive, deep, and blooming intelligent, and has a strong tender heart; -by this I mean the whole fiber and nervous system, with all their dependencies)� Similarly to how Friedrich structured his description of “The Monk by the Sea” by separating “Beschreibungen” (descriptions) and “Gedanken” (thoughts), Levin Varnhagen takes advantage of her weather vignettes to report and chronicle not only that which is observable and apparent, but also the inner portrayal of her mind, as she reveals her thoughts� She begins with the comparison of the moist gloomy weather obstructing the sun with conscious recognition of the nature of things� She observes that getting older is not a burden for her on the mental level, and it does not make her less happy� In her view, true happiness is not a temporary feeling that comes and goes, but rather something that guides her thoughts and reactions to what happens in her life� In this context, she emphasizes the symbol of heart that she used throughout her correspondence and did not associate solely with women’s emotions and subjectivity since she did not subscribe to the modern male-mind-rationality and female-body-feeling dualisms, 18 but rather claimed that she became masculine precisely through “das empfindlichste, das stärkste Organ” (the most sensitive, strongest organ)� 19 Hence, she brought together both genders into the visualization of the most vulnerable yet powerful symbol of love� In this letter, however, she developed the concept further and explored it as the unity of the fine arts and medical sciences, specifically, as the conception of human flesh, as a piece of meat, as a place of magnetism, as an electrified animal. She used the power of her physical heart to make a conscious choice to be happy because happiness is a state of mind� Friedrich’s “painted thoughts” pondered human nothingness with respect to the universe in order to comprehend and master pain� Levin Varnhagen’s philosophical musings confronted illness and the process of aging� Levin Varnhagen thought in a way that cannot be easily integrated into given genre categories� A special moment, a view from a window, a conversation, a book, weather changes or anything else might have served as the source of her productivity� She merged life and art when she approached the salon conversations as installation art because for her “living” conversations were aesthetic� Consequently, she developed an entire world of insights into philosophy, music, literature, and politics� In a similar way to Friedrich, who was persistent in being committed to the realms of art, literature, and philosophy, she had the quality Intermediality in New/ Romanticism 477 478 Renata T Fuchs of being mentally interested in interdisciplinary ideas and be touched by them emotionally and thus can be understood in terms of addressing the Romanticist ideas and of finitude and the infinite. Her method resembles that of Friedrich’s approach to investing the landscape painting with a deeper significance and connection to the viewer� Levin Varnhagen and Friedrich used art and word in similar ways to confront personal setbacks, illness, experience of loss, and the course of aging� Because the intermediality of the salon ushered in the contemporary intermediality aesthetics where old and new media intertwine in the digital world as the new form of Romanticism, Levin Varnhagen’s vignettes capture Friedrich’s painting as GIF’s from around 1800� Notes 1 Friedrich’s entry in the album of his fellow student in Copenhagen (Zschoche 13) reflecting his periods of grief. His painting “The Monk by the Sea” has been interpreted as an artistic reminder about the capacity for overcoming pain� Unless otherwise noted, all translations are my own� 2 Schleiermacher aestheticized sociability in a similar way to Kant’s “disinterested contemplation of the work of art” (Thomann Tewarson 42) and assigned free social interaction to a separate category of leisure under the direction of women, as intellectually capable beings� By detaching free sociability from both the professional and domestic space and locating it in a separate sphere—not in everyday reality—he perpetuated gender division ideology and diminished the capacity for genuine transformation and advancement� 3 About the notion that the idea itself is a work of art and the focus shift from art appearance to the artist’s thinking process see Sol LeWitt’s “Paragraphs on Conceptual Art” (First published in 0-9 New York, 1969, and Art-Language , England, May 1969)� 4 The father of conceptual art, Marcel Duchamp, claimed that art can be made out of anything and reflected this idea in his readymades—works of art made from found objects dislocated from their normal context� He was Florine Stettheimer’s close friend (1871—1944) and part of her salon in New York frequented by Gertrude Stein, herself a salonnière� https: / / stories.thejewishmuseum.org/ an-extravagant-crowd-florine-stettheimer-and-friends-in-jazz-age-new-york-476e03cf15b1 5 Lawrence Weiner contends, since “each being equal and consistent with the intent of the artist, the decision as to condition rests with the receiver upon the occasion of receivership�” This statement has been used in many presentations since its first publication in ARTnews in the fall of 1968 and its republication in the catalogue for the group show “January 5—31 1969,” at the Seth Siegelaub Gallery, New York, in 1969 (Buchloh 173 and Morgan 36)� Shifting the responsibility of instantiation to the custodian as the fundamental tenet of his practice was appended to a “Declaration of Intent�” Weiner turned to language as the primary vehicle for his work, concluding in 1968 that: “(1) The artist may construct the piece� (2) The piece may be fabricated� (3) The piece may not be built� https: / / www�guggenheim�org/ artwork/ artist/ lawrence-weiner 6 Tim Leberecht explored virtual reality and ushering in a New Romantic Era; Margie Borschke examined the New Romantics as well as authenticity and authorship online; and Paddy Johnson considered digital artists as the twenty-first century’s New Romantics. 7 When Henry Jenkins, a leading media studies figure in the United States and the author of Convergence Culture: When Old and New Media Collide , gave the keynote speech at the first International Society for Intermedial Studies conference in Cluj, Romania in October 2013, he was surprised to find out that his collaboration with his former colleagues at the Massachusetts Institute of Technology's Comparative Media Studies Program was of interest to the 250 intermedial experts representing a wide range of disciplines� See Larrue’s “The ‘In-between’ of What? ” 8 Several authors have been working on a classification of crowdsourcing projects (in the sense of “the wisdom of crowds”): See the articles of Surowiecki, Dawson, Holley� 9 Contemporary art and literature are marked by an increased intermedial interest; hence, there is a growing amount of academic research being done on intermedial grounds, inside and outside the “proper” interart institutions� See Changing Borders. Contemporary Positions in Intermediality , ed� Jens Arvidson, where 21 scientists investigate intermedial relations between arts and media in a number of forms, including illustrated books, ekphrastic literature, music-and-word relations, record sleeves, mathematics-and-aesthetics relations, architecture, film-and-literature relations, opera, theatre, and theoretical discussions on intermedia studies� 10 Bakhtin was fighting against the increasing rigidity of post-revolutionary Soviet cultural politics and the doctrinary canonization of Social Realism� it was this revolutionary potential of Bakhtin’s criticism of ideological monologism that fascinated Kristeva. The concept of intertextuality that she initiated first in her essay “Word, Dialogue and Novel” (1966) proposed the text as a dynamic site in which relational processes and practices were the focus of analysis instead of static structures and products� 11 Gentz to Levin Varnhagen 1803, Briefwechsel , III, ed. Kemp, 121—122. Intermediality in New/ Romanticism 479 480 Renata T Fuchs 12 Levin Varnhagen to Gentz in Pressburg, October 26, 1830, Briefwechsel , III, ed. Kemp, 183—184. 13 Levin Varnhagen to Gentz in Pressburg, October 26, 1830, Briefwechsel , III, ed. Kemp, 183—184. 14 On what can be learned from the celebrated artists see Mary Savig’s Pen to Paper. Artists’ Handwritten Letters from the Smithsonian’s Archives of American Art � 15 The salons were almost entirely responsible for the emergence and dissemination of the whole German Goethe cult ( “’Sie hat den Gegenstand’” 104)� 16 The “intermediality” has been practiced earlier than in the 20 th century as various publications that mark the evolution of intermedial thought since it first emerged in the 1980s show. In “When Old Technologies Were New,” Carolyn Marvin showed how, although the use of electricity became generalized in the late 19th century, electric media emerged and developed by cannibalizing other cultural practices� Most recently, Alexander R� Galloway's The Interface Effect returned to the cardinal, intermediality-related question of mediation and device� Although the terms "intermediality" or "intermedial" do not appear in any of these landmark essays, that is what they are all about� See also Larrue’s “The ‘In-between’ of What? ” 17 Since 1990 the consensus has been building that Early German Romanticism was not only a literary but also a philosophical movement, and a number of literary scholars (Paul de Man, Azade Seyhan, Alice Kuzniar, Phillipe Lacoue-Labarthe, Jean-Luc Nancy, Manfred Frank, Isaiah Berlin) established its affinities with postmodern concerns. See Beiser’s The Romantic Imperative � 18 At that time a widespread view that divided literary genres into female and male and was held by Goethe and Schiller, “Epische und dramatische Dichtung”; Hegel, Vorlesungen über die Ästhetik ; A�W� Schlegel, Die Kunstlehre and Vorlesungen ; F. Schlegel, “Gespräch über die Poesie” (Kord 58—61). 19 Levin Varnhagen to Gentz, December 27, 1827, Briefwechsel , III, ed. Kemp, 157� Works Cited Alfaro, María Jesús Martínez� “Intertextuality: Origins and Development of the Concept�” Atlantis 18�1/ 2 ( June-December 1996): 268-285� Web� http: / / www�jstor�org/ stable/ 41054827 Arndt, Andreas� “Geselligkeit und Gesellschaft� Die Geburt der Dialektik aus dem Geist der Konversation in Schleiermachers ‘Versuch einer Theorie des geselligen Betragens�’” Salons der Romantik. Beiträge eines Wiepersdorfer Kolloquiums zu Theorie und Geschichte des Salons � Ed� Hartwig Schultz� Berlin and New York: Walter de Gruyter, 1997� 45—62� Arvidson, Jens, ed� Changing Borders: Contemporary Positions in Intermediality � Lund, Sweden: Lund University Press, 2007� Beiser, Frederick C� The Romantic Imperative: The Concept of Early German Romanticism. 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