The mountain symbolizes an immovable faith, while the fir trees are an allegory of hope for a view of this painting in the original frame, as it hangs in the gemäldegalerie [picture gallery[ in dresden, where friedrich lived, click on tetschen altar or cross in the mountains with frame. Other articles where the cross in the mountains is discussed: caspar david friedrich: his first important oil painting, the cross in the mountains (c 1807 also called the tetschen altarpiece), established his mature style, characterized by an overwhelming sense of stillness and isolation, and was an attempt to replace the traditional symbology of religious painting with one drawn from nature.
Cross in the mountains depicts a gipfelkreuz, one of the “summit crosses” that have been erected on mountain peaks in the alps since the thirteenth century, especially in catholic regions the cross is placed off-center, a slender naked reed among the densely clad fir trees that flank the mountaintop.
Cross in the mountains is generally regarded as a masterpiece of friedrich's by modern day critics for its ingenuity he singlehandedly changed the idea of traditional landscape in 2006 the painting made its first american appearance at the getty museum from october to april in the exhibition entitled, from caspar david friedrich to gerhard richter: german paintings from dresden. Unveiling his painting, cross in the mountains, in his dresden studio, artist caspar david friedrich sparked a controversy that would force contemporaries to rethink not only art criticism, but also the evocation of the divine.
Cross in the mountains (tetschen altar), 1808 by caspar david friedrich romanticism landscape. Cross in the mountains was the first major piece caspar david friedrich exhibited to a large group for a newcomer, friedrich gained a significant amount of attention as the painting was received with intensely mixed reactions.
Cross in the mountains, also known as the tetschen altar, is an oil painting by the german artist caspar david friedrich designed as an altarpiece among friedrich's first major works, the 1808 painting marked an important break with the conventions of landscape painting  by including christian iconography.