 In his 1961 article "The Abstract Sublime", originally published in ARTnews, the art historian Robert Rosenblum drew comparisons between the Romantic landscape paintings of both Friedrich and Turner with the Abstract Expressionist paintings of Mark Rothko. Rosenblum specifically describes Friedrich's 1809 painting The Monk by the Sea, Turner's The Evening Star and Rothko's 1954 Light, Earth and Blue as revealing affinities of vision and feeling. According to Rosenblum, "Rothko, like Friedrich and Turner, places us on the threshold of those shapeless infinities discussed by the aestheticians of the Sublime. The tiny monk in the Friedrich and the fisher in the Turner establish a poignant contrast between the infinite vastness of a pantheistic God and the infinite smallness of His creatures. In the abstract language of Rothko, such literal detail — a bridge of empathy between the real spectator and the presentation of a transcendental landscape — is no longer necessary; we ourselves are the monk before the sea, standing silently and contemplatively before these huge and soundless pictures as if we were looking at a sunset or a moonlit night."
