“ … they even surpass those in color charm ”
and from wherever you look ,
its eyes go with you
so that its lights “ appear movably ”
Dahl, Siegwald Johannes (1827 Dresden 1902). Roebuck in the Winter Forest. Oil on panel. Inscribed: Siegwald Dahl 1880 (below right) + Siegwald Dahl, Dresden Blasewitzer Str. 1. (verso above). 54.5 x 63.5 cm. Under 12 cm wide heavy, most richly ornamented contemp. gilt frame.
Literature
Thieme-Becker VIII, 274 f.; Allgemeines Künstler-Lexikon XX, 320;
Boetticher, Malerwerke des 19. Jhdts., Dahl, 49
( “Roebuck in the Winter” )
Exposition
Dresden, Kunstverein, 1880
The picture full of atmosphere documented by literature, in 1882 donated by Dahl for the raffle of the Albert Society (Red Cross) founded in 1867 by Carola von Sachsen, wife of the Saxon king Albert von Wettin (1833-1907, daughter of the Austrian field-marshal prince Gustav Adolf von Wasa + the princess Luise von Baden), first of all especially for the wounded of the 1866 war.
Already as 37-age honorary member of the Dresden Academy Dahl was pupil of his father, Johann Christian Clausen Dahl, the animal painter Joh. Frdr. Wilhelm Wegener, and 1843/45 of the Dresden Academy. “In 1851 he visited London attracted by Edwin Landseer, repeatedly Paris and especially Norway , the native country of the father, what stimulated himself to several compositions, too” (Boetticher 1891).
“ D. is above all an animal painter, his Norwegian and German landscapes already technically not coming up to the
excellent depictions from the life of the dogs , horses , roes , birds .
These genre scenes could stand comparison with those of Edwin Landseer in respect of the loving observations …
they even surpass those in color charm .
A not to be underestimated influence in this connection D. has excerted on an elder art companion, the ingenious Ferd. v. Raysky , together with whom he yearly made natural studies on the properties of their friends ”
(Ernst Sigismund 1913 in Thieme-Becker).
But the eyes of the buck here
fasten to any of your view-point just as the subtle look of publicity from the advertising pillar, making its scent sheer tangibly, helping your still hunt to a rare top form of event. An early skillness of special grade symbolizing “the all seeing eye of God”, as already in 1453 delivered by Nikolaus Cusanus and, only for example, documented by the “Face of an Archer on the Great Market in Nuremberg” and the first picture of the Trajan and Herkinbald Cycle by Rogier van der Weyden of c. 1440 as especially admired by him, but handed down yet only by the contemporary gobelins in Bern, on which the eyes of a presumably self-portrait of the artist “seem to look at the visitor wherever he also may move” (Dirk de Vos, Rogier van der Weyden, Munich 1999, pp. 66 + 58).
The high-grade panel with the mark of quality “Tachet brevete à Paris” pieced on by Dahl 4.5 cm all-round as not unusual
as mark of creative further development during the work
and outspokenly exemplarily known of Rubens. So then also inscribed on the lower/upper separate part only. However with the geared consequence of formation of cracks in the seams, visible also on the image-side, as a result of the working wood. Other fine cracks in the lower part of the flowsheet itself unobtrusively on the surface. The state of the painting decidedly good, the yellowed old varnish took away under partly recess of the signature.
Offer no. 14,555 / price on request
Where the dominance of the contemporary frame
is not welcome as disturbing the ambience alternatively
in timeless craft wood-frame worked in three parts after type of the firm in imitation of a self-produced one of an expressionist per
Offer no. 14,555a / price on request
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