View on Lake Winnipiseogee 1828

Thomas Cole painted this view on Lake Winnipesaukee using oil on canvas. Note how Cole uses the motif of the Rückenfigur. The Rückenfigur—a figure seen from behind—first appeared in Romanticism, famously in Caspar David Friedrich's work. But this is just one instance of a cross-cultural trope which can be traced through art history. Think of the ancient Greeks depicting gods and heroes in profile, or the frequent use of figures with obscured faces in religious art to evoke mystery. Even in modern cinema, filmmakers use a similar technique to build tension or emphasize a character's isolation. The figure invites us into the scene but keeps us at a distance, too. The psychological effect is powerful. We are drawn to empathize with the figure, to imagine their thoughts and feelings as they contemplate the vast landscape. But we are also reminded of our own position as viewers, looking in on a world that is both familiar and remote. This interplay between connection and separation reflects our deepest anxieties and desires and is a testament to the enduring power of visual symbols.