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Research into the technique underlying Beuckelaer's canvases has shown that he often recycled his own compositions from one image to the next. He employed patterns of clustered items through tracings to compose new pictures with apparent variety. This kind of technique allowed him to increase production efficiency an... |
His work was influential in Flanders and abroad. The Flemish still life and animal painter Frans Snyders developed his Baroque many market scenes by taking inspiration of the work of Aertsen and Beuckelaer. Northern Italian painters such as Vincenzo Campi and Jacopo Bassano were also influenced by his work. Diego Vel... |
References |
External links |
Media related to Joachim Beuckelaer at Wikimedia Commons |
Job Adriaenszoon Berckheyde (baptized 27 January 1630 – before 23 November 1693) was a Dutch artist of the 17th century, active in Haarlem, Amsterdam, and The Hague. |
Biography |
Job Berckheyde was born in Haarlem and was the older brother of the painter Gerrit who he later taught to paint. He was apprenticed on 2 November 1644 to Jacob Willemszoon de Wet, and his master's influence is apparent in his first dated canvas, "Christ Preaching to the Children" (1661), one of his few biblical scenes.... |
Works |
He could paint landscapes in the same style as his brother, but seems to have preferred interiors and genre works, whereas his brother's oeuvre consists mostly of outdoor scenes. The Elector's gold chain may be the one he wears in his early Self-portrait (1655), his only documented work from the 1650s. Job is better kn... |
References |
External links |
Job Adriaensz Berkheyde on Artnet |
Art 4 2Day |
Entrance to a church, with figures |
Johan Christian Claussen Dahl (24 February 1788 – 14 October 1857), often known as J. C. Dahl or I. C. Dahl, was a Danish-Norwegian artist who is considered the first great romantic painter in Norway, the founder of the "golden age" of Norwegian painting. He is often described as "the father of Norwegian landscape pain... |
Although Dahl spent much of his life outside of Norway, his love for his country is clear in the motifs he chose for his paintings and in his extraordinary efforts on behalf of Norwegian culture generally. He was, for example, a key figure in the founding of the Norwegian National Gallery and of several other major art... |
Life |
Early life |
Dahl came from a simple background – his father was a modest fisherman in Bergen, Norway – and he would later look back at his youth with bitterness. He regretted that he never had a "real teacher" in his childhood and, despite all his spectacular success, he believed that if he had been more fortunate in his birth, he... |
Time at Bergen |
As a boy, Dahl was educated by a sympathetic mentor at the Bergen Cathedral who at first thought that this bright student would make a good priest, but then, recognizing his remarkably precocious artistic ability, arranged for him to be trained as an artist. From 1803 to 1809 Dahl studied with the painter Johan Georg M... |
As important as Dahl's studies at the academy in Copenhagen were his experiences in the surrounding countryside and in the city's art collections. In 1812 he wrote to Sagen that the landscape artists he most wished to emulate were Ruisdahl and Everdingen, and for that reason he was studying "nature above all," Dahl's ... |
Dahl held that a landscape painting should not just depict a specific view, but should also say something about the land's nature and character – the greatness of its past and the life and work of its current inhabitants. The mood was often idyllic, often melancholy. When he added snow to a landscape he painted in the... |
Dahl took part in annual art exhibitions in Copenhagen beginning in 1812, but his real breakthrough came in 1815, when he exhibited no fewer than 13 paintings. Prince Christian Frederik of Denmark, who developed an early interest in Dahl's artistic genius and saw to it that his works were purchased for the royal colle... |
In 1816 C. W. Eckersberg returned from abroad with his paintings of Roman settings; Dahl was impressed at once, and they became good friends and exchanged pictures. Dahl's 1817 painting Den Store Kro i Fredensborg marked the real beginning of his lifelong production of oil paintings depicting natural subjects. |
After his success in Copenhagen, Dahl realized that he wanted to live as an independent, self-supporting artist. One challenge facing him was that the academic preference of the day was for historical paintings with moral messages. Landscapes were considered the lowest kind of art, and perhaps even not as art at all, ... |
Abroad in Dresden |
Dahl traveled to Dresden in September 1818. He arrived with introductions to the city's leading citizens and to major artists such as Caspar David Friedrich, who helped him establish himself there and became his close friend. One critic has written: "Friedrich's still, meticulously executed landscapes - products of an ... |
Friedrich was fourteen years Dahl's elder and an established artist, but the two found in each other a shared love for nature and a shared enthusiasm for a way of depicting nature that was based on the study of nature itself rather than on the academic cliches that they both profoundly despised. One writer has put it ... |
Together with Friedrich and Carl Gustav Carus, Dahl would become one of the Dresden painters of the period who exerted a decisive influence on German Romantic painting. |
In Dresden, as in Copenhagen, Dahl traveled around the area to draw subjects that could be of use to him in larger works that would be painted later in his atelier. He wrote to Prince Christian Frederik in 1818 that "most of all I am representing nature in all its freedom and wildness." Dahl found enough material in t... |
Abroad in Italy |
Prince Christian Frederik wrote to Dahl in 1820 from Italy and invited him to join him at the Gulf of Naples. Dahl was at the time courting a young woman named Emilie von Bloch, but felt he should take the prince up on his offer, so he married Emilie quickly and traveled to Italy the next day. He ended up spending 10... |
Dahl went to Rome in February 1821. He spent a great deal of time visiting museums, meeting other artists, and painting pictures to sell. In addition to painting sights in Rome and pictures of the Gulf of Naples, he painted landscapes inspired by the mountains of Norway. Dahl said that not until he was in Rome did h... |
Dahl quickly became a member of Dresden's leading circles of poets, artists, and scientists, among them the archeologist C. A. Böttiger, publisher of Artistisches Notizenblatt, who ran a major article on Dahl in 1822. |
Mentorship |
As a member of the academy, Dahl always dedicated his time to young artists who sought him out. In 1824 he and Friedrich were named "extraordinary professors" who had no chair but who received a regular salary. In 1823 Dahl moved in with Friedrich, so that many of his students, such as Knud Baade, Peder Balke, and Th... |
Dahl never formed a "school" around himself, but rather preferred for his students to cultivate their own styles; it was against his principles and his respect for artistic freedom to try to inhibit his students' individuality. It was this impulse toward individuality that later caused him to turn down an offer of a p... |
Dahl continued his studies of nature in the area around Dresden when he had the time, or on longer trips which provided him with themes for his paintings. But most often he painted the view of the Elbe outside his windows in various kinds of light. Like John Constable, Dahl felt that the sky was an important part of ... |
Return home |
As Dahl wrote in 1828 to the director of the Dresden academy, he found the area around Dresden useful for nature studies, but the "real thing" was always missing; that was something he could only find in his mountainous homeland. He viewed himself as a "more Nordic painter" with a "love for seacoasts, mountains, water... |
He made subsequent trips to Norway in 1834, 1839, 1844, and 1850, mostly exploring and painting the mountains, leading to the monumental works Fortundalen (1836) and Stalheim (1842). During his visits to Norway he received "an enthusiastic welcome as a painter of renown." |
A critic notes Dahl's late stylistic changes: "In his late Fjord at Sunset (1850), based on studies made earlier, free and adventurous brush strokes represent the cloud-swept sky and broken surface of the water. Here he has moved far away from the purity and intensity of Friedrich's oeuvre." |
Later life |
In 1827 Emilie Dahl died in childbirth while having their fourth child, and two years later two of the older children died of scarlet fever. In January 1830, Dahl married his student Amalie von Bassewitz, but she, too, died in childbirth in December of that same year. Dahl was crushed, and many months passed before h... |
Dahl's trip to Norway in 1850 would be his last. He was aging and weak, but continued to paint landscapes in the mountains. This last journey to his homeland resulted in several magnificent works, including Måbødalen, Fra Stugunøset, and Hjelle i Valdres. |
Dahl was among the founding fathers of the National Gallery of Norway (Norwegian: Nasjonalgalleriet), now the National Museum of Art, Architecture, and Design, and donated his own art collection to the institution. |
Death |
Dahl died after a brief illness and was buried on 17 October 1857 in Dresden. In 1902, a statue of Dahl by Norwegian sculptor Ambrosia Tønnesen (1859–1948) was erected on the facade of the West Norway Museum of Decorative Art in Bergen. In 1934, his remains were brought back to Norway and buried in the cemetery of St. ... |
J.C. Dahl occupies a central position in Norwegian artistic life of the first half of the 19th century. His Romantic yet naturalistic interpretations of Norwegian scenery were greatly admired in Norway as well as on the European continent, particularly in Denmark and Germany. |
Honors |
Dahl had both the Order of Vasa and Order of St. Olav bestowed on him by the King of Norway and Sweden. He also received the Order of Dannebrog from Denmark. The three honors testify to his extraordinary cultural impact throughout Scandinavia. |
Notable works |
Many of his works may be seen in Dresden, notably a large picture titled Norway and Storm at Sea. The Bergen Kunstmuseum in Bergen, Norway, contains several of his more prominent works, including Måbødalen (1851), Fra Stedje i Sogn (1836), Hjelle i Valdres (1850), Lysekloster (1827), Stedje i Sogn (1836) and Bjerk i st... |
The National Museum of Art, Architecture and Design - The National Gallery, Oslo has a large collection of his works, 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). Si... |
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) |
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