Not currently on view
In the collection of Art Institute of Chicago, Chicago · as of July 2026
FROM THE ART INSTITUTE OF CHICAGO’S CATALOG
Architect, painter, and printmaker Karl Friedrich Schinkel understood Gothic architecture as a fusion between universal Christianity and German genius. The combination here of vernacular Gothic architecture and a grand oak tree symbolizing Teutonic strength—as well as the medium of lithography itself, which had recently been invented in Munich by Alois Senefelder—infuses the print with a particularly nationalistic significance. This patriotism is all the more pointed given Germany’s military defeat at the hands of Napoleon’s army in 1806 and the subsequent occupation of Schinkel’s home of Berlin by French troops.
Be the first to share your thoughts.
Sign in to join the discussion.
Elevation and Plan of the Façade of a Building
Gothic Cathedral Behind a Pond with Swans
Das Schloss Prediama in Crein XII Stund: von Triest
Gothic Church among Oaks
Predjama Castle in Krein, Twelve Hours from Trieste
Gothic Church Hidden by a Tree
Woodland Path with a Coach
Interior of St. Stephen's Cathedral in Vienna
Karl Friedrich Schinkel (German, 1781–1841) — Gothic Church
Jan Looten — View of City from Road on Hill
Francis Seymour Haden (British, 1818–1910) — Kensington Gard
Carl Gustav Carus — View of the West Facade of Dunkeld Cathe
Eduard Gaertner — Landscape with a Tree in front of a Villa
Carl Wilhelm I Kolbe (German, 1757–1835) — Landscape and Bri
Domenico Quaglio — Ruin of Godesberg with the so-called High
Francis Seymour Haden — Kensington Gardens, No. I (small pla
James Duffield Harding — Abele and Oak, from The Park and th
Adolphe Théodore Jules Martial Potémont (French, 1828–1883)
Joseph Mallord William Turner — Berry Pomeroy Castle, plate
Domenico Quaglio — Kiderich Church in Rheingau