Until 1890, and especially after his friends had died, Friedrich's work lay in near-oblivion for decades.
Yet, by 1890, the symbolism in his work began to ring true with the artistic mood of the day, especially in central Europe.
However, despite a renewed interest and an acknowledgment of his originality, his lack of regard for "painterly effect" and thinly rendered surfaces jarred with the theories of the time.

I am not so weak as to submit to the demands of the age when they go against my convictions.
I spin a cocoon around myself; let others do the same.
I shall leave it to time to show what will come of it: a brilliant butterfly or maggot.

— Caspar David Friedrich
During the 1930s, Friedrich's work was used in the promotion of Nazi ideology, which attempted to fit the Romantic artist within the nationalistic Blut und Boden.
It took decades for Friedrich's reputation to recover from this association with Nazism.
His reliance on symbolism and the fact that his work fell outside the narrow definitions of modernism contributed to his fall from favour.
In 1949, art historian Kenneth Clark wrote that Friedrich "worked in the frigid technique of his time, which could hardly inspire a school of modern painting", and suggested that the artist was trying to express in painting what is best left to poetry.
Clark's dismissal of Friedrich reflected the damage the artist's reputation sustained during the late 1930s.

Friedrich's reputation suffered further damage when his imagery was adopted by a number of Hollywood directors, such as Walt Disney, built on the work of such German cinema masters as Fritz Lang and F. W. Murnau, within the horror and fantasy genres.
His rehabilitation was slow, but enhanced through the writings of such critics and scholars as Werner Hofmann, Helmut Börsch-Supan and Sigrid Hinz, who successfully rejected and rebutted the political associations ascribed to his work, and placed it within a purely art-historical context.
By the 1970s, he was again being exhibited in major galleries across the world, as he found favour with a new generation of critics and art historians.

Today, his international reputation is well established.
He is a national icon in his native Germany, and highly regarded by art historians and art connoisseurs across the Western World.
He is generally viewed as a figure of great psychological complexity, and according to Vaughan, "a believer who struggled with doubt, a celebrator of beauty haunted by darkness.
In the end, he transcends interpretation, reaching across cultures through the compelling appeal of his imagery.
He has truly emerged as a butterfly—hopefully one that will never again disappear from our sight".
Until 1890, and especially after his friends had died, Friedrich's work lay in near-oblivion for decades. Yet, by 1890, the symbolism in his work began to ring true with the artistic mood of the day, especially in central Europe. However, despite a renewed interest and an acknowledgment of his originality, his lack of regard for "painterly effect" and thinly rendered surfaces jarred with the theories of the time.
I am not so weak as to submit to the demands of the age when they go against my convictions. I spin a cocoon around myself; let others do the same. I shall leave it to time to show what will come of it: a brilliant butterfly or maggot.
— Caspar David Friedrich
During the 1930s, Friedrich's work was used in the promotion of Nazi ideology, which attempted to fit the Romantic artist within the nationalistic Blut und Boden. It took decades for Friedrich's reputation to recover from this association with Nazism. His reliance on symbolism and the fact that his work fell outside the narrow definitions of modernism contributed to his fall from favour. In 1949, art historian Kenneth Clark wrote that Friedrich "worked in the frigid technique of his time, which could hardly inspire a school of modern painting", and suggested that the artist was trying to express in painting what is best left to poetry. Clark's dismissal of Friedrich reflected the damage the artist's reputation sustained during the late 1930s.
Friedrich's reputation suffered further damage when his imagery was adopted by a number of Hollywood directors, such as Walt Disney, built on the work of such German cinema masters as Fritz Lang and F. W. Murnau, within the horror and fantasy genres. His rehabilitation was slow, but enhanced through the writings of such critics and scholars as Werner Hofmann, Helmut Börsch-Supan and Sigrid Hinz, who successfully rejected and rebutted the political associations ascribed to his work, and placed it within a purely art-historical context. By the 1970s, he was again being exhibited in major galleries across the world, as he found favour with a new generation of critics and art historians.
Today, his international reputation is well established. He is a national icon in his native Germany, and highly regarded by art historians and art connoisseurs across the Western World. He is generally viewed as a figure of great psychological complexity, and according to Vaughan, "a believer who struggled with doubt, a celebrator of beauty haunted by darkness. In the end, he transcends interpretation, reaching across cultures through the compelling appeal of his imagery. He has truly emerged as a butterfly—hopefully one that will never again disappear from our sight".
Caspar David Friedrich