Friedrich's reputation steadily declined over the final fifteen years of his life.
As the ideals of early Romanticism passed from fashion, he came to be viewed as an eccentric and melancholy character, out of touch with the times.
Gradually his patrons fell away.
By 1820, he was living as a recluse and was described by friends as the "most solitary of the solitary".
Towards the end of his life he lived in relative poverty.
He became isolated and spent long periods of the day and night walking alone through woods and fields, often beginning his strolls before sunrise.

In June 1835, Friedrich suffered his first stroke, which left him with minor limb paralysis and greatly reduced his ability to paint.
As a result, he was unable to work in oil; instead he was limited to watercolour, sepia and reworking older compositions.

Although his vision remained strong, he had lost the full strength of his hand.
Yet he was able to produce a final 'black painting', Seashore by Moonlight (1835–36), described by Vaughan as the "darkest of all his shorelines, in which richness of tonality compensates for the lack of his former finesse".

Symbols of death appeared in his other work from this period.
Soon after his stroke, the Russian royal family purchased a number of his earlier works, and the proceeds allowed him to travel to Teplitz—in today's Czech Republic—to recover.

During the mid-1830s, Friedrich began a series of portraits and he returned to observing himself in nature.
As the art historian William Vaughan has observed, however, "He can see himself as a man greatly changed.
He is no longer the upright, supportive figure that appeared in Two Men Contemplating the Moon in 1819.
He is old and stiff... he moves with a stoop".

By 1838, he was capable only of working in a small format.
He and his family were living in poverty and grew increasingly dependent for support on the charity of friends.

Friedrich died in Dresden on 7 May 1840, and was buried in Dresden's Trinitatis-Friedhof (Trinity Cemetery) east of the city centre (the entrance to which he had painted some 15 years earlier).
The simple flat gravestone lies north-west of the central roundel within the main avenue.

By the time of his death, his reputation and fame were waning, and his passing was little noticed within the artistic community.
His artwork had certainly been acknowledged during his lifetime, but not widely.
While the close study of landscape and an emphasis on the spiritual elements of nature were commonplace in contemporary art, his work was too original and personal to be well understood.
By 1838, his work no longer sold or received attention from critics; the Romantic movement had been moving away from the early idealism that the artist had helped found.

After his death, Carl Gustav Carus wrote a series of articles which paid tribute to Friedrich's transformation of the conventions of landscape painting.
 However, Carus' articles placed Friedrich firmly in his time, and did not place the artist within a continuing tradition.
Only one of his paintings had been reproduced as a print, and that was produced in very few copies.
Friedrich's reputation steadily declined over the final fifteen years of his life. As the ideals of early Romanticism passed from fashion, he came to be viewed as an eccentric and melancholy character, out of touch with the times. Gradually his patrons fell away. By 1820, he was living as a recluse and was described by friends as the "most solitary of the solitary". Towards the end of his life he lived in relative poverty. He became isolated and spent long periods of the day and night walking alone through woods and fields, often beginning his strolls before sunrise.
In June 1835, Friedrich suffered his first stroke, which left him with minor limb paralysis and greatly reduced his ability to paint. As a result, he was unable to work in oil; instead he was limited to watercolour, sepia and reworking older compositions.
Although his vision remained strong, he had lost the full strength of his hand. Yet he was able to produce a final 'black painting', Seashore by Moonlight (1835–36), described by Vaughan as the "darkest of all his shorelines, in which richness of tonality compensates for the lack of his former finesse".
Symbols of death appeared in his other work from this period. Soon after his stroke, the Russian royal family purchased a number of his earlier works, and the proceeds allowed him to travel to Teplitz—in today's Czech Republic—to recover.
During the mid-1830s, Friedrich began a series of portraits and he returned to observing himself in nature. As the art historian William Vaughan has observed, however, "He can see himself as a man greatly changed. He is no longer the upright, supportive figure that appeared in Two Men Contemplating the Moon in 1819. He is old and stiff... he moves with a stoop".
By 1838, he was capable only of working in a small format. He and his family were living in poverty and grew increasingly dependent for support on the charity of friends.
Friedrich died in Dresden on 7 May 1840, and was buried in Dresden's Trinitatis-Friedhof (Trinity Cemetery) east of the city centre (the entrance to which he had painted some 15 years earlier). The simple flat gravestone lies north-west of the central roundel within the main avenue.
By the time of his death, his reputation and fame were waning, and his passing was little noticed within the artistic community. His artwork had certainly been acknowledged during his lifetime, but not widely. While the close study of landscape and an emphasis on the spiritual elements of nature were commonplace in contemporary art, his work was too original and personal to be well understood. By 1838, his work no longer sold or received attention from critics; the Romantic movement had been moving away from the early idealism that the artist had helped found.
After his death, Carl Gustav Carus wrote a series of articles which paid tribute to Friedrich's transformation of the conventions of landscape painting.  However, Carus' articles placed Friedrich firmly in his time, and did not place the artist within a continuing tradition. Only one of his paintings had been reproduced as a print, and that was produced in very few copies.
Caspar David Friedrich