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Johan Christian Clausen Dahl (Bergen 1788 - Dresden 1857) Menhir im Sognefjord Bleistiftzeichnung,

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Johan Christian Clausen Dahl (Bergen 1788 - Dresden 1857) Menhir im Sognefjord Bleistiftzeichnung,
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Hamburg
Johan Christian Clausen Dahl
(Bergen 1788 - Dresden 1857)
Menhir im Sognefjord
Bleistiftzeichnung, weiß gehöht, 19,5 x 25 cm, r. u. sign. u. dat. Dahl 23. August 1827, r. u. bez., verso Sammlerstempel von Prinz Johann Georg zu Sachsen, unter Glas gerahmt. - Die detailliert durchgearbeitete Zeichnung steht im Zusammenhang mit Dahls 1827 entstandenem Gemälde 'Menhir im Sognefjord im Winter' in der Nationalgalerie Oslo. Der Künstler greift zwei Hauptanliegen der Romantiker auf: das Verhältnis von Vergangenheit und Gegenwart und das Verhältnis von Natur und Kultur. Schon vor Jahrtausenden haben Menschen den gewaltigen Menhir aufgerichtet als Zeichen, daß sie gegen die kalte und schroffe, ja übermächtige nordische Natur bestehen können. Die sich im Hintergrund in die Hügel duckenden zeitgenössischen Bauernhäuser dagegen entdeckt man erst auf den zweiten Blick. Auch bei Dahls Freund Caspar David Friedrich tauchen prähistorische Monumente immer wieder auf und verweisen auf eine Zeit, in der frühe Zeugnisse der Kultur sich aus der Natur organisch herauszubilden scheinen. Der melancholische Blick geht zurück in eine Epoche scheinbar größerer Harmonie zwischen dem Menschen und seiner Umwelt. - Ausstellungen: 'Kunstwerke, die mich angehen'. Der Sammler Hermann F. Reemtsma, Ernst-Barlach-Haus Hamburg, 11.10.1992 - 3.1.1993, Kat.-Nr. 13, mit Abb. S. 26. - Literatur: M. L. Bang: J. C. D., Life and Work, Oslo 1987, Bd. 2, S. 182, Nr. 543; Die Zeichnung ist mit Abb. publiziert: 'Kunstwerke, die mich angehen'. Der Sammler Hermann F. Reemtsma, Ernst-Barlach-Haus Hamburg, 1992, S. 26. - Provenienz: Wohl Karl Friedrich Curtius, Leipzig; Prinz Johann Georg zu Sachsen; von Hermann F. Reemtsma 1941 erworben im Auktionshaus C. G. Boerner, Leipzig; vor 1992 als Geschenk von der Familie Reemtsma an den heutigen Eigentümer. - Norwegischer Maler, einer der Hauptvertreter der Romantik u. einer der bedeutendsten Landschaftsmaler seiner Zeit. Nach einer Ausbildung im Atelier von J. G. Müller in Bergen studierte D. ab 1811 an der Kopenhagener Akademie. 1818 ließ er sich in Dresden nieder, 1820 folgte er einer Einladung von Prinz Frederik Christian von Dänemark nach Italien; ein Aufenthalt, der für seine Kunst prägend werden sollte. 1824 wurden D. u. sein Freund Caspar David Friedrich Professoren an der Dresdner Akademie. 1826 unternahm er die lang ersehnte erste von mehreren Norwegenreisen; Motive seiner Heimat begannen in seinem Werk zu dominieren. D. war auch Mitbegründer der Nationalgalerie in Oslo, der er seinen Nachlaß vermachte. Mus.: Oslo (Nat.-Gal.), Dresden (Gal. Neue Meister), München (Neue Pinakothek), Hamburg (Kunsthalle), Leipzig, Bergen, Chemnitz u. a. Lit.: AKL, Thieme-Becker, Bang: J. C. D., Werkverzeichnis, Oslo 1987 u.a.

Dahl, Johan Christian Clausen
(Bergen 1788 - Dresden 1857)
Menhir in the Sognefjord
Pencil drawing heightened with white, 19,5 x 25 cm, lo. ri. sign. a. dat. Dahl 23. August 1827, lo. ri. inscribed, on the reverse collection stamp of Prince Johann Georg zu Sachsen, framed under glass. - The detailed drawing is closely related to Dahls ‘Menhir in the Sognefjord in Winter’ in the Oslo National Gallery, painted in 1827. The artist picks up two main topics of Romantic art: the relation between past and present and the relation between nature and culture. Already millenia ago men erected a huge menhir, able to defy a cold and hostile nordic nature. The contemporary farm houses in the background in contrast duck down to the ground, nearly escaping the beholder’s eye. Prehistoric monuments are also repeatedly found in the paintings of Dahl’s friend Caspar David Friedrich. They seem to point out to a time when early relics of culture seemed to develop organically out of nature. A melancholy contemporary looks back to an age when men were seemingly living in greater harmony with their environment. - Exhibition: 'Kunstwerke, die mich angehen'. Der Sammler Hermann F. Reemtsma, Ernst-Barlach-Haus Hamburg, 11.10.1992 - 3.1.1993, cat. no 13, ill. p. 26. - Literature: M. L. Bang: J. C. D., Life and Work, Oslo 1987, vol. 2, p. 182, no. 543; The drawing is published with ill.: 'Kunstwerke, die mich angehen'. Der Sammler Hermann F. Reemtsma, Ernst-Barlach-Haus Hamburg, 1992, p. 26. - Provenance: Probably Karl Friedrich Curtius, Leipzig; Prince Johann Georg zu Sachsen; bought by Hermann F. Reemtsma 1941 in the auction house C. G. Boerner, Leipzig; given as a gift to the present owner by the Reemtsma family before 1992. - Norwegian painter, one of the main exponents of Romantic art a. one of the most important landscape painters. D. was taught painting in the studio of J. G. Müller in Bergen, since 1881 he studied at the Copenhagen academy. In 1818 he settled in Dresden, in 1820 he accepted an invitation of Prince Frederik Christian of Denmark to Italy; a sojourn that was to become distinctive for his art. D. a. his friend Caspar David Friedrich were appointed professors at the Dresden academy in 1824. Two years late D. was able to undertake a long desired first of many journeys to Norway. Subsequently subjects from his homeland began to become more important in his work. D. entrusted his estate to the Oslo National Gallery which had been co-founded by the artist. Mus.: Oslo (Nat. Gall.), Dresden (Gal. Neue Meister), Munich (Neue Pinakothek), Hamburg (Kunsthalle), Leipzig, Bergen, Chemnitz a. others. Lit.: AKL, Thieme-Becker, Bang: J. C. D., Cat. rais., Oslo 1987 a. others.

Johan Christian Clausen Dahl
(Bergen 1788 - Dresden 1857)
Menhir im Sognefjord
Bleistiftzeichnung, weiß gehöht, 19,5 x 25 cm, r. u. sign. u. dat. Dahl 23. August 1827, r. u. bez., verso Sammlerstempel von Prinz Johann Georg zu Sachsen, unter Glas gerahmt. - Die detailliert durchgearbeitete Zeichnung steht im Zusammenhang mit Dahls 1827 entstandenem Gemälde 'Menhir im Sognefjord im Winter' in der Nationalgalerie Oslo. Der Künstler greift zwei Hauptanliegen der Romantiker auf: das Verhältnis von Vergangenheit und Gegenwart und das Verhältnis von Natur und Kultur. Schon vor Jahrtausenden haben Menschen den gewaltigen Menhir aufgerichtet als Zeichen, daß sie gegen die kalte und schroffe, ja übermächtige nordische Natur bestehen können. Die sich im Hintergrund in die Hügel duckenden zeitgenössischen Bauernhäuser dagegen entdeckt man erst auf den zweiten Blick. Auch bei Dahls Freund Caspar David Friedrich tauchen prähistorische Monumente immer wieder auf und verweisen auf eine Zeit, in der frühe Zeugnisse der Kultur sich aus der Natur organisch herauszubilden scheinen. Der melancholische Blick geht zurück in eine Epoche scheinbar größerer Harmonie zwischen dem Menschen und seiner Umwelt. - Ausstellungen: 'Kunstwerke, die mich angehen'. Der Sammler Hermann F. Reemtsma, Ernst-Barlach-Haus Hamburg, 11.10.1992 - 3.1.1993, Kat.-Nr. 13, mit Abb. S. 26. - Literatur: M. L. Bang: J. C. D., Life and Work, Oslo 1987, Bd. 2, S. 182, Nr. 543; Die Zeichnung ist mit Abb. publiziert: 'Kunstwerke, die mich angehen'. Der Sammler Hermann F. Reemtsma, Ernst-Barlach-Haus Hamburg, 1992, S. 26. - Provenienz: Wohl Karl Friedrich Curtius, Leipzig; Prinz Johann Georg zu Sachsen; von Hermann F. Reemtsma 1941 erworben im Auktionshaus C. G. Boerner, Leipzig; vor 1992 als Geschenk von der Familie Reemtsma an den heutigen Eigentümer. - Norwegischer Maler, einer der Hauptvertreter der Romantik u. einer der bedeutendsten Landschaftsmaler seiner Zeit. Nach einer Ausbildung im Atelier von J. G. Müller in Bergen studierte D. ab 1811 an der Kopenhagener Akademie. 1818 ließ er sich in Dresden nieder, 1820 folgte er einer Einladung von Prinz Frederik Christian von Dänemark nach Italien; ein Aufenthalt, der für seine Kunst prägend werden sollte. 1824 wurden D. u. sein Freund Caspar David Friedrich Professoren an der Dresdner Akademie. 1826 unternahm er die lang ersehnte erste von mehreren Norwegenreisen; Motive seiner Heimat begannen in seinem Werk zu dominieren. D. war auch Mitbegründer der Nationalgalerie in Oslo, der er seinen Nachlaß vermachte. Mus.: Oslo (Nat.-Gal.), Dresden (Gal. Neue Meister), München (Neue Pinakothek), Hamburg (Kunsthalle), Leipzig, Bergen, Chemnitz u. a. Lit.: AKL, Thieme-Becker, Bang: J. C. D., Werkverzeichnis, Oslo 1987 u.a.

Dahl, Johan Christian Clausen
(Bergen 1788 - Dresden 1857)
Menhir in the Sognefjord
Pencil drawing heightened with white, 19,5 x 25 cm, lo. ri. sign. a. dat. Dahl 23. August 1827, lo. ri. inscribed, on the reverse collection stamp of Prince Johann Georg zu Sachsen, framed under glass. - The detailed drawing is closely related to Dahls ‘Menhir in the Sognefjord in Winter’ in the Oslo National Gallery, painted in 1827. The artist picks up two main topics of Romantic art: the relation between past and present and the relation between nature and culture. Already millenia ago men erected a huge menhir, able to defy a cold and hostile nordic nature. The contemporary farm houses in the background in contrast duck down to the ground, nearly escaping the beholder’s eye. Prehistoric monuments are also repeatedly found in the paintings of Dahl’s friend Caspar David Friedrich. They seem to point out to a time when early relics of culture seemed to develop organically out of nature. A melancholy contemporary looks back to an age when men were seemingly living in greater harmony with their environment. - Exhibition: 'Kunstwerke, die mich angehen'. Der Sammler Hermann F. Reemtsma, Ernst-Barlach-Haus Hamburg, 11.10.1992 - 3.1.1993, cat. no 13, ill. p. 26. - Literature: M. L. Bang: J. C. D., Life and Work, Oslo 1987, vol. 2, p. 182, no. 543; The drawing is published with ill.: 'Kunstwerke, die mich angehen'. Der Sammler Hermann F. Reemtsma, Ernst-Barlach-Haus Hamburg, 1992, p. 26. - Provenance: Probably Karl Friedrich Curtius, Leipzig; Prince Johann Georg zu Sachsen; bought by Hermann F. Reemtsma 1941 in the auction house C. G. Boerner, Leipzig; given as a gift to the present owner by the Reemtsma family before 1992. - Norwegian painter, one of the main exponents of Romantic art a. one of the most important landscape painters. D. was taught painting in the studio of J. G. Müller in Bergen, since 1881 he studied at the Copenhagen academy. In 1818 he settled in Dresden, in 1820 he accepted an invitation of Prince Frederik Christian of Denmark to Italy; a sojourn that was to become distinctive for his art. D. a. his friend Caspar David Friedrich were appointed professors at the Dresden academy in 1824. Two years late D. was able to undertake a long desired first of many journeys to Norway. Subsequently subjects from his homeland began to become more important in his work. D. entrusted his estate to the Oslo National Gallery which had been co-founded by the artist. Mus.: Oslo (Nat. Gall.), Dresden (Gal. Neue Meister), Munich (Neue Pinakothek), Hamburg (Kunsthalle), Leipzig, Bergen, Chemnitz a. others. Lit.: AKL, Thieme-Becker, Bang: J. C. D., Cat. rais., Oslo 1987 a. others.

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