Caspar David Friedrich Personality Type, MBTI
What is the personality type of Caspar David Friedrich? Which MBTI personality type best fits? Personality type for Caspar David Friedrich from Artists and what is the personality traits.
INFP (4w5)
Caspar David Friedrich personality type is INFP, though this doesn’t fit any of the official personality type models. It might be that there are more ways to be an INFP than the official models permit, but it’s not clear to me how to resolve the issue.
The most pronounced feature of the INFP is their strong need for personal autonomy, which is almost certainly not manifested in a single direction. It is not the case that all INFPs are social, nor are all INFPs introverted. An INFP can be introverted, but also have strong social skills. An INFP can be socially extroverted, but also have strong introverted traits. There are many different varieties of INFP personalities, just as there are many different varieties of people, which you can see if you look at the first two letters of each word: Introversion and Extroversion.
The INFP personality type is associated with the Ni-function produced by the dominant function (Fi) and the Auxiliary function (Ne). The Ni-function is the first auxiliary function, and the first function to emerge as a child learns to talk and to take in information. It is the first way in which the world is perceived as a reality.
Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich's paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs "the viewer's gaze towards their metaphysical dimension".
