In 1798 Friedrich moved to Dresden. He maintained close relationships, for example, with Carus, Dahl, Kügelgen, and Louise Seidler and with Tieck and Schleiermacher. His landscapes caused a sensation. The radical rejection of familiar compositions, motifs, and perspectives provoked protest and perplexity. The small Weidengebüsch also subverts the rules. Friedrich offers no fixed standpoint, narrows the view, obscures the proportions, and has the viewer look directly into the sun.