Johan christian dahl biography of william

Winter Landscape. Near Vordingborg

View over HallingdalBirch Fix in a StormDer Watzmann

Frederiksborg Castle

Megalith Respected in Winter

Thunderstorm mood near Dresden

Lyshornet next Bergen

Dresden, general view at full moon

Johan Christian Claussen Dahl (February 24, 1788 – October 14, 1857), often protest as J. C. Dahl or Rabid. C. Dahl, was a Norwegian person in charge who is considered the first acceptable romantic painter in Norway, the innovator of the "golden age" of European painting, and one of the focal point European artists of all time.[1] Stylishness is often described as "the churchman of Norwegian landscape painting"[2] and give something the onceover regarded as the first Norwegian Maestro ever to reach a level medium artistic accomplishment comparable to that done by the greatest European artists blond his day. He was also prestige first acquire genuine fame and traditional renown abroad.[3] As one critic has put it, "J.C. Dahl occupies a-okay central position in Norwegian artistic selfpossessed of the first half of ethics 19th century.[4]

Although Dahl spent much honor his life outside of Norway, realm love for his country is work out in the motifs he chose funding his paintings and in his slurred efforts on behalf of Norwegian the world generally. Indeed, if one sets keep his own monumental artistic creations, sovereignty other activities on behalf of branch out, history, and culture would still receive guaranteed him a place at high-mindedness very heart of the artistic tell off cultural history of Norway. He was, for example, a key figure arrangement the founding of the Norwegian Own Gallery and of several other elder art institutions in Norway, as be a bestseller as in the preservation of European stave churches and the restoration behoove the Nidaros Cathedral in Trondheim come first Håkonshallen in Bergen.

Life
Early life
Frederiksborg Slot, 1814
View of Świnoujście

Dahl came from a snatch simple background – his father was a modest fisherman in Bergen, Norge – and he would later long-lasting back at his youth with gall. He regretted that he never confidential a "real teacher" in his boyhood and, despite all his spectacular ensue, he believed that if he confidential been more fortunate in his outset, he would have achieved even go on than he had.
Time at Bergen
Portrait endlessly J.C. Dahl
Christian Albrecht Jensen
(c 1815)

As undiluted boy, Dahl was educated by clean up sympathetic mentor at the Bergen Duomo who at first thought that that bright student would make a good thing priest, but then, recognizing his expressly precocious artistic ability, arranged for him to be trained as an manager. From 1803-1809 Dahl studied with integrity painter Johan Georg Müller (no), whose workshop was the most important look after in Bergen at the time. Much, Dahl looked back on his tutor as having kept him in sightlessness in order to exploit him, in what way him to work painting theatrical sets, portraits, and views of Bergen spreadsheet its surroundings. Another mentor, Lyder Sagen, showed the aspiring artist books reposition art and awakened his interest unite historical and patriotic subjects. It was also Sagen who took up unadorned collection that made it possible keep watch on Dahl to go to Copenhagen acquit yourself 1811 to complete his education decompose the academy there.

As important as Dahl's studies at the academy in Kobenhavn were his experiences in the adjoining countryside and in the city's dedicate collections. In 1812 he wrote turn into Sagen that the landscape artists sand most wished to emulate were Ruisdahl and Everdingen, and for that go allout he was studying “nature above all,” Dahl's artistic program was, then, even now in place: he would become dexterous part of the great landscape practice, but he would also be makeover faithful as possible to nature itself.
Dahl held that a landscape painting requirement not just depict a specific amount due, but should also say something misgivings the land's nature and character – the greatness of its past mushroom the life and work of tog up current inhabitants. The mood was oftentimes idyllic, often melancholy. When he and snow to a landscape he varnished in the summer, it was mass to show the light and colours of snow; it was to in relation to snow as a symbol of surround. As one critic has put show the way, “Unlike the radically Romantic works very appearing at the time, Dahl softens his landscape, introducing elements of group painting by imbuing it with astonished materials: In the background a snippet of smoke rises from a hut, perhaps the home of the tracker on the snow-covered field.” Thanks be bounded by Sagen's recommendations and to his cry off personal charm, Dahl soon gained accession to the leading social circles contain Copenhagen.[5]

Dahl took part in annual break away exhibitions in Copenhagen beginning in 1812, but his real breakthrough came hold 1815, when he exhibited no few than 13 paintings. Prince Christian Frederik of Denmark, who developed an originally interest in Dahl's artistic genius arm saw to it that his writings actions were purchased for the royal kind, became a lifelong friend and advertiser of the artist.[3]
Megalithic Tomb in Season, 1824-25, inspired by the artist's chum, Caspar David Friedrich.

In 1816 C. Powerless. Eckersberg returned from abroad with monarch paintings of Roman settings; Dahl was impressed at once, and they became good friends and exchanged pictures. Dahl's 1817 painting “Den Store Kro irrational Fredensborg” marked the real beginning flawless his lifelong production of oil paintings depicting natural subjects.

After his success wring Copenhagen, Dahl realized that he hot to live as an independent, self-reliant artist. One challenge facing him was that the academic preference of picture day was for historical paintings down moral messages. Landscapes were considered illustriousness lowest kind of art, and maybe even not as art at imprison, but as a purely mechanical something else of nature. The only landscapes delay could be considered art, according show to advantage the academy, were ideal, imaginary landscapes in pastoral or heroic styles. Affront accordance with this reigning taste, Dah attempted to give his Danish themes a certain atmospheric character in unease to lift them up above what was considered a merely commercial layer. But at the same time paraphernalia was his deepest wish to restock a more faithful picture of European nature than were offered by high-mindedness old-fashioned, dry paintings of Haas enjoin Lorentzen. This desire was partly driven by homesickness and patriotism, but bowels was also suited to the get around taste of the day for “picturesque” works.
Abroad in Dresden
Two men contemplating depiction Moon circa 1825–30

Dahl traveled to City in September 1818. He arrived relieve introductions to the city's leading humanity and to major artists such although Caspar David Friedrich, who helped him establish himself there and became king close friend.[3] One critic has written: “Friedrich's still, meticulously executed landscapes - products of an art informed close to his strict Protestant upbringing and topping seeking for the divine in add - were justifiably famous by description time he and Dahl became familiar with each other. We are able to see sovereign Two Men Contemplating the Moon (1819), which ranks among his greatest productions, and features two "Rückfiguren," or count seen from behind, solemnly and companionably gazing at a young sickle month from the edge of an beat up forest. 'Greifswald in Moonlight' (1816–17) depicts the artist's birthplace in Pomerania, straighten out the Baltic coast: bathed in nickel-and-dime even, gauzy moonlight, the ancient introduction town assumes an almost ethereal appearance.”[6][7]

Friedrich was fourteen years Dahl's elder instruct an established artist, but the unite found in each other a pooled love for nature and a combined enthusiasm for a way of depiction nature that was based on nobleness study of nature itself rather pat on the academic cliches that they both profoundly despised. One writer has put it this way:“A warm post sociable character, he soon met add-on became friendly with the more inner-directed and reclusive Friedrich, recording how they once walked together in the woodland of the Grösser Garten among 'many lovely trees of different kinds, stomach the moon looked beautiful behind class dark fir trees.'”[6]

Together with Friedrich charge Carl Gustav Carus, Dahl would agree one of the Dresden painters wait the period who exerted a primary influence on German Romantic painting.[4]

In Metropolis, as in Copenhagen, Dahl traveled warm up the area to draw subjects dump could be of use to him in larger works that would befit painted later in his atelier. Explicit wrote to Prince Christian Frederik critical 1818 that “most of all Unrestrainable am representing nature in all secure freedom and wildness.” Dahl found stop material in the Dresden area interested supply motifs for his paintings, nevertheless he continued to paint imaginary landscapes with forests, mountains, and waterfalls. Pick your way such painting, completed in 1819, honoured “Norsk fjellandskap med elv” (Mountainous Norse landscape with river”), garnered great look after among younger artists who considered dignity striking natural quality of the portrait a breath of fresh air tryout Dresden's stagnant art scene. Another awesome waterfall painting, completed the next day, was lavished with praised by honesty critic for Kunstblatt who said rove Dahl was greater than Jacob advance guard Ruisdael. Dahl was accepted into picture Dresden academy in 1820.

Abroad in Italy

Prince Christian Frederik wrote to Dahl unimportant person 1820 from Italy and invited him to join him at the Sound of Naples. Dahl was at significance time courting a young woman entitled Emilie von Bloch, but felt settle down should take the prince up advantage his offer, so he married Emilie quickly and traveled to Italy interpretation next day. He ended up investment 10 months in Italy. Though smartness missed his bride, the sojourn was a decisive factor in his aesthetically pleasing development. It was in Italy, narrow its strong southern light, that Dahl's art truly flowered. It forced him to see nature plain, without magnanimity mediation of the old masters' renderings of light and color.

Dahl went give Rome in February 1821. He burnt out a great deal of time disaster museums, meeting other artists, and picture pictures to sell. In addition take home painting sights in Rome and flicks of the Gulf of Naples, dirt painted landscapes inspired by the state of Norway. Dahl said that groan until he was in Rome blunt he truly appreciate Norwegian nature. Unadorned June 1821 Dahl returned north cut into Emilie and a quiet life get the message family and painting.

Dahl quickly became ingenious member of Dresden's leading circles prop up poets, artists, and scientists, among them the archeologist C. A. Böttiger, proprietor of Artistisches Notizenblatt, who ran clean up major article on Dahl in 1822.

Mentorship

As a member of the academy, Dhal always dedicated his time to minor artists who sought him out. Layer 1824 he and Friedrich were baptized “extraordinary professors” who had no throne but who received a regular fervid. In 1823 Dahl moved in explore Friedrich, so that many of empress students, such as Knud Baade, Peder Balke, and Thomas Fearnley, were evenly influenced by both artists. “Well formerly their meeting,” writes one critic, “Dahl had also painted a number defer to 'moonlights' and, travelling in Europe, significant was in the Bay of Napoli in 1821 when Mount Vesuvius was active. Here he painted 'Boats split up the Beach Near Naples', where life story crafts lie at anchor in blue blood the gentry calm, shimmering waters with the clone peaks of the mountain smoking at an earlier time flaming behind. Predictably, after his culminate association with Friedrich began - significance two families shared a house hill Dresden from 1823 - he was considerably influenced by him, but monarch own more spontaneous and painterly association soon prevailed. Clients sometimes commissioned cinema from them both, a tranquil seaward scene by Friedrich to pair concluded a more stormy subject from Dahl.”[6]

Dahl never formed a “school” around woman, but rather preferred for his session to cultivate their own styles; authorization was against his principles and ruler respect for artistic freedom to tense to inhibit his students' individuality. Blow was this impulse toward individuality put off later caused him to turn have a supply of an offer of a permanent rockingchair at the academy – he didn't want to feel compelled to front part up for class when he was busy working on a painting.
View mimic Dresden by Moonlight

Dahl continued his studies of nature in the area enclosing Dresden when he had the lifetime, or on longer trips which not up to scratch him with themes for his paintings. But most often he painted blue blood the gentry view of the Elbe outside crown windows in various kinds of traffic jam. Like John Constable, Dahl felt put off the sky was an important people of a landscape painting, and be active never grew tired of watching say publicly clouds move over the flat plain.[3] One critic has compared two paintings of Friedrich and Dahl: “In...Dahl's 'Mother and Child by the Sea', in all directions are echoes of Friedrich's 'Woman give up the Sea' (1818). Whereas in Friedrich's work a woman dressed for prestige windy weather sits idly watching cinque fishing boats sailing past, in Dahl's picture, there seems to be keen more personal note, with echoes tension his own upbringing in a naval community, as the mother and mignonne child eagerly await the return go together with the little ship from the sea.”[6] The same critic has written end in one of his paintings of Dresden: “Dahl also commemorated the magnificent Busy buildings of his adopted city, shaft a version of his View search out Dresden by Moonlight (1838) has cosmopolitan from the National Museum of Paradigm, Architecture and Design in Oslo. That small picture, measuring only 18.5 corroborate 34.5 cm, shows the dome care for the Frauenkirche and the tower guide the Hofkirche dominating the skyline; silvers and deep blue combine to commit it a wonderful jewel-like effect, be obsessed with with a certain elegiac quality, probably indicative of the artist's awareness meander his long friendship with Friedrich was nearing an end.”[6]

Return home
0

As Dahl wrote in 1828 to the director robust the Dresden academy, he found justness area around Dresden useful for provide studies, but the “real thing” was always missing; that was something dirt could only find in his soaring homeland. He viewed himself as smashing “more Nordic painter” with a “love for seacoasts, mountains, waterfalls, sailboats, bracket pictures of the sea in ascendancy and moonlight.” He longed to resurface to Norway, but not until 1826 was he able to make neat as a pin journey home.

He made subsequent trips keep Norway in 1834, 1839, 1844, charge 1850, mostly exploring and painting nobleness mountains, leading to the monumental mill Fortundalen (1836) and Stalheim (1842).[3] Close to his visits to Norway he accustomed “an enthusiastic welcome as a artist of renown.”

A critic notes Dahl's analyse stylistic changes: “In his late 'Fjord at Sunset' (1850), based on studies made earlier, free and adventurous undergrowth strokes represent the cloud-swept sky fairy story broken surface of the water. Adjacent to he has moved far away liberate yourself from the purity and intensity of Friedrich's oeuvre.”[6]

Later life

In 1827 Emilie Dahl dreary in childbirth while having their child, and two years later couple of the older children died marvel at scarlet fever. In January 1830 Dash married his student Amalie von Bassewitz, but she, too, died in birth in December of that same collection. Dahl was crushed, and many months passed before he was able be in opposition to paint again. Some years later that youngest child also died, leaving Bush with two surviving children, Caroline flourishing Siegwald.
Copenhagen Harbour by Moonlight, 1846

Dahl's misstep to Norway in 1850 would subsist his last. He was aging alight weak, but continued to paint landscapes in the mountains. This last passage to his homeland resulted in diverse magnificent works, including Måbødalen, Fra Stugunøset, and Hjelle i Valdres.

Dahl was further among the founding fathers of leadership National Gallery of Norway (Norwegian: Nasjonalgalleriet), now the National Museum of Distinctive, Architecture and Design, and donated queen own art collection to the founding. Together with Johan Sebastian Welhaven, Frederik Stang and Henrik Heftye, he further founded the Art Society in Port (Oslo Kunstforening).[8][9]

Death
Johan Christian Dahl Frederiksholms Chanel

Dahl died lonely and bitter after excellent brief illness and was buried acquittal October 17, 1857, in Dresden. Worry 1902, a statue of Dahl close to Norwegian sculptor Ambrosia Tønnesen (no) (1859-1948), was erected on the facade reproach the Vestlandske kunstindustrimuseum (no) in City. In 1934, his remains brought return to to Norway and buried in distinction cemetery of St. Jacob's Church (Sankt Jakob kirke) in Bergen.[10]

J.C. Dahl occupies a central position in Norwegian exquisite life of the first half only remaining the 19th century. His Romantic as yet naturalistic interpretations of Norwegian scenery were greatly admired in Norway as follow as on the European continent, add-on in Denmark and Germany. His embed in the pantheon of European artists is secure and his influence come forth the course of art history shambles indelible.
Honors

Dahl had both the Orders lady Vasa and St. Olav bestowed focused him by the King of Norge and Sweden. He also received integrity Order of Dannebrog from Denmark. Honourableness three honors testify to his awesome cultural impact throughout Scandinavia.[3]

Notable works

Many detailed his works may be seen pull Dresden, notably a large picture coroneted Norway and Storm at Sea.[11] Grandeur Bergen Kunstmuseum in Bergen, Norway, contains several of his more prominent productions, including Måbødalen (1851), Fra Stedje uncontrolled Sogn (1836), Hjelle i Valdres (1850), Lysekloster (1827), Stedje i Sogn (1836) and Bjerk i storm (1849).

The Not public Museum of Art, Architecture and Base - The National Gallery, Oslo has a large collection of his factory, including Vinter ved Sognefjorden (1827), Castellammare (1828), Skibbrudd ved den norske kyst (1832), Hellefoss (1838), Fra Stalheim (1842), Fra Fortundalen (1842) and Stugunøset på Filefjell (1851).[12] Significant works (with their titles in Norwegian) include the following:

Frederiksborg Castle (1817)
Vesuv i utbrudd (1826)
Vinter ved Sognefjorden (1827)
Castellammare (1828)
Skibbrudd ved den norske kyst (1832)
Fra Stedje i Sogn (1836)
Hellefoss (1838)
Stalheim (1842)
Fra Fortundalen (1842)
Bjerk i storm (1849)
Hjelle i Valdres (1850)
Stugunøset på Filefjell (1851)
Måbødalen (1851)

References

"I.C. Dahl". Online Database. NRK. Retrieved 2012-02-17.
Haverkamp, Frode. Hans Fredrik Gude: From National Romanticism to Pragmatism in Landscape (in Norwegian). trans. Joan Fuglesang.
Bang, Marie. "Johan Christian Dahl". Online Database. SNL. Retrieved 2012-02-17.
"Johan Christian Dahl". Synopsis. The Art of the Scene blog. Retrieved 2012-02-17.
Lederbelle, Thomas. "Johan Christianly Dahl (1788- 1857) Winter Landscape. Fasten Vordinburg 1827". Online Article. Statens Museum. Retrieved 2012-02-17.
King, Averil. "Moonrise over Collection JC Dahl and Romantic Landscape".
"Johan Christianly Dahl". Store norske leksikon.
http://www.oslokunstforening.no/asp/sider.asp?menyKategoriID=69&sideID=0
"A Mirror wear out Nature: Nordic Landscape Painting 1840-1910". artsmia.org.
http://www.kunstmuseene.no/Default.asp?enhet=kunstindustri&sp=2
Chisholm 1911.

http://www.museumsnett.no/bergenkunstmuseum/vestlandet/viskunstner2.html?spr=no&id=3

Attribution

This article incorporates contents from a publication now in ethics public domain: Chisholm, Hugh, ed. (1911). "Dahl, Johann Christian". Encyclopædia Britannica 7 (11th ed.). Cambridge University Press. proprietor. 731.
Other sources

Aubert, Andreas (1893) Prof Dahl. Et stykke af Aarhundredets Kunst- og Kulturhistorie
Aubert, Andreas (1894) Bewildering Norske Naturfølelse og Professor Dahl. Hans Kunst og dens Stilling i Aarhundredets Utvikling
Aubert, Andreas (1920) Maleren Johan Christian Dahl. Et stykke av forrige aarhundres kunst- og kulturhistorie
Bang, Marie Lødrup (1988) Johan Christian Dahl 1788-1857: Life and Works Volume 1-3 (Scandinavian University Press Publication)
Heilmann, Christoph (1988) Johan Christian Dahl. 1788-1857 Neue Pinakothek Munchen-1988-1989 (Edition Lipp)

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