364:
392:
348:, was living in Rome. She still had a strong bond to Sweden and its people and was helpful when it came to assisting Swedish artists in the city. Therefore, the first thing Dahl did upon his arrival was to seek an audience with her. He was able to get the audience, but Christina was only a link to the higher powers in the city, such as the Pope, so to get the assistance Dahl needed from Christina, Dahl had to convert to the Roman Catholic Church as she had done. After some persuasion he eventually did, but the promises which were undoubtedly made to him were not withheld. At several occasions,
187:
292:
253:
227:
there are assumptions that the teaching Dahl received from
Hannibal was finished before they ever had permission from the authorities in Sweden to open a portrait academy. After his time with Hannibal, Dahl was one of the students who were allowed to continue with Ehrenstrahl as the teacher. From this it is possible to tell that Hannibal and Ehrenstrahl were pleased with Dahl as a student. In the group there were mainly students of
44:
215:
Ehrenstrahl. Since there were two teachers, the group was divided. The students were first under the leadership of
Hannibal to learn the basics of painting, and if they showed skill, they had the chance of being picked out to continue their study with Ehrenstrahl. This would suggest that Ehrenstrahl was a better painter than Hannibal, whose talent is not easily assessed as none of his work has been identified.
835:
418:
with his native country. Dahl adapted to his new life and after three years in London he had transformed into a young London dandy, who paid his attentions to a certain Mlle. Fanchou, though she was not the woman he was to marry. In 1696, thanks to
Leijoncrona, he was able to settle in the neighborhood of the Swedish Legation in the fashionable quarter of
303:
Kneller showed Dahl what the public really wanted from artists, and how they were going to get paid for their work. His studio was factory-like compared with
Ehrenstrahl's, which Dahl's biographer Wilhelm Nisser terms "Ehrenstrahl's monopoly of glorifying Swedish Royalty". In Kneller's studio, Dahl
226:
until 1681 and was therefore not an option for Dahl in the mid-seventies. The
Painters' Guild was not an option for Dahl either, due to its lack of contemporary well-known artists as members. Thus Dahl started to study in the Hannibal and Ehrenstrahl group in 1674. Though it is not fully confirmed,
214:
by the prominent
Swedish painter David Klöcker Ehrenstrahl to aid him in the foundation of a portrait academy and to teach students and amateurs the first elements of painting. The Hannibal and Ehrenstrahl group consisted of a handful of students who were taught by Martin Hannibal and David Klöcker
452:
In 1705 Dahl married a young
English girl whose name has still not been recovered. Together they had a son, Michael, and two daughters, Dorothy and Catherine. The family was very respected by art-interested people in the neighborhood and lived a pleasant life there until 1725, when they moved to
417:
In March 1689 Dahl and Tilson were back in London, and Dahl started to work on living up to his new reputation. He quickly became friends with the poet
Christoffer Leijoncrona who was Secretary of the Swedish Legation. For Dahl, Leijoncrona was a very helpful ally when it came to keeping in touch
374:
Dahl had now been travelling for over five years, and his purse was getting thin. On 6 October 1687 he wrote a letter to his mother; in it he expresses his strong desire to return home, but that the conditions in Sweden are too poor due to the
Swedish Resumption/Patents act, which restricted all
413:
to paint for him for three weeks. In his diary he refers to Dahl as a "famous painter of
Swedish extraction". This suggests that Dahl's reputation had greatly increased by his successes in Rome and that the journey was far from wasted both in the aspect of fame and in the aspect of study.
375:
possibilities of a career in Sweden for Dahl. Christina seems to have given her consent, as a passport for a journey Rome–London was issued on 29 October to Henry Tilson, just over three weeks after Dahl wrote the letter to his mother. In November the same year two other Swedish painters,
440:
who found him to his liking even though the Duke was known for being a very despotic and difficult man to handle. The Duke continued to hire Dahl and for over 20 years he painted members of the Duke's family. In 1705 he got the chance of painting several versions of the portrait of
146:(c. 1659–1743) was a Swedish portrait painter who lived and worked in England most of his career and died there. He was one of the most internationally known Swedish painters of his time. He painted portraits of many aristocrats and some members of royal families, such as
170:, in 1656 or 1659: most of the sources point to 1659. His mother, Catarina Dahl, is assumed to have made many silent sacrifices to give Michael the opportunity of a good education, so that his talent was not to be wasted. According to letters written by Michael from
276:, which he copied from White's engraving the same year as it was made. White took Dahl under his wing in the world of painting in London. As a token of gratitude, Dahl aided White with valuable ideas when it came to engraving a portrait of the king of Sweden,
477:"He refused to draw the Duke of Cumberland, when two years old, desiring the lord who went down to ask it to tell His Majesty that not having had the honour of painting him or his royal consort he was unwilling to begin with a child."
194:
At the age of at least 15 years, Dahl had to decide where he was going to study art, though the only options in Sweden at the time were an apprenticeship in the Painters' Guild or joining the Martin Hannibal and
312:. He was considered one of the most promising painters of Lely's pupils. Dahl and Tilson started to plan a journey around Europe to expand their studies. They were to go to Paris, Venice and Rome.
268:. He was brought there by an English merchant called Sowter, though his name may vary. It is probable that it was through this man that Dahl came in contact with the skilled engraver and painter
383:, came to study in Rome and they do not appear to have been in any contact with Dahl or Tilson, so presumably the two young painters left immediately after the passport had been issued.
324:, but it is known that they were still working in Paris in April 1685. Paris at that time was a common objective for Swedish travelers. Dahl came in contact with the engraver
356:. The Pope was impressed and awarded Dahl a gold medal. Dahl was not the only artist Christina was able to convert. David Richter the Elder who Dahl had studied with at
264:
On 30 July 1682, Dahl was issued a passport to be able to travel throughout Europe for the sake of his studies. His first destination on this educational journey was
465:
needed to find a new court painter and he was looking in Dahl's direction. This, however, was quickly aborted when Dahl refused to paint the portrait of the
874:
869:
859:
437:
280:, employing his familiarity with the royal paintings Dahl had observed in the studio of Ehrenstrahl. White helped Dahl expand his network in
332:, who had his portrait painted by Dahl. Like many of the younger generation of French painters, Dahl and Tilson decided to continue on to
426:). Leijoncrona also helped Dahl to win fame back in Sweden, and two years after he settled in London, on 5 October 1698, the well-known
884:
466:
397:
470:
53:
363:
889:
483:
899:
864:
391:
329:
186:
904:
446:
380:
357:
257:
196:
147:
121:
352:
let Dahl paint her portrait and she was able to establish an opportunity for Dahl to show a specimen of his work to
894:
349:
341:
155:
501:
462:
284:
and he soon came in contact with the man who is probably responsible for the greatest impact on his development,
291:
442:
296:
219:
151:
125:
777:
767:
507:
269:
252:
305:
854:
469:, who was only two. Dahl had taken the request as somewhat a disgrace of his talent according to what
879:
308:. Tilson was from a highly respected family and had earlier studied under the Court portrait painter
277:
117:
479:
King George was furious at this reply, and it ruined all Dahl's opportunities of being knighted.
178:, she had raised him and his sister in an old-fashioned way and in the spirit of Christianity.
409:
in July 1688; there Dahl met the young Swedish nobleman Claes Ekeblad of Stola who paid him a
345:
72:
419:
376:
353:
236:
232:
839:
320:
Lack of documentation makes it impossible to determine when Dahl and Henry Tilson left for
458:
285:
43:
454:
848:
325:
273:
49:
218:
The only competition of the same league as the Hannibal and Ehrenstrahl group, was
482:
Michael Dahl died in London on 20 October 1743 and was buried a week later in
436:
Dahl kept advancing in reputation, and in 1696 he painted the portrait of the
427:
309:
445:. It was undoubtedly through the prince that he came into the circles around
406:
405:
After the departure from Rome, the two painters were to be found briefly in
223:
167:
17:
834:
206:-born drawing-master Martin Hannibal, who had been requested to come to
552:
Michael Dahl and the Contemporary Swedish School of Painting in England
228:
203:
135:
538:
511:
360:'s, was converted when he visited Rome a few years earlier, in 1679.
333:
281:
265:
207:
175:
86:
57:
432:"Courteous greetings to Mr Dahl, whose renown daily increases here."
272:. The earliest trace of Dahl's activity in England is a portrait of
304:
both studied and made a living and there he became acquainted with
410:
390:
362:
321:
290:
251:
211:
185:
526:
337:
171:
231:
and the ones contemporary with Dahl were Ludvig Weyandt,
202:
Dahl received his first lessons in art in 1674 from the
131:
110:
102:
94:
79:
65:
34:
453:Beak Street, which today is at the south end of
235:, David Richter the Elder, Hans Georg MĎ‹ller,
8:
818:
816:
806:
804:
794:
792:
754:
752:
750:
704:
702:
700:
698:
661:
659:
657:
647:
645:
643:
641:
42:
31:
631:
629:
627:
503:Portrait of Sir John Pole by Michael Dahl
190:Michael Dahl – portrait of an unknown man
617:
615:
613:
611:
592:
590:
588:
586:
576:
574:
572:
562:
560:
494:
473:wrote in his diary about the incident:
7:
784:Portrait of Prince George of Denmark
774:Portrait of Prince George of Denmark
522:
520:
449:, whose portrait he also painted.
430:Erik Odhelius writes in a letter:
344:, who had abdicated to convert to
25:
875:18th-century Swedish male artists
508:Artworks by or after Michael Dahl
299:, painted by Michael Dahl in 1705
833:
554:(Almqvist & Wiksell) 1927:2.
83:20 October 1743 (84 or 87 years)
398:James Brydges, Duke of Chandos
1:
870:18th-century Swedish painters
860:17th-century Swedish painters
484:St James's Church, Piccadilly
776:by Michael Dahl, 2012-04-12;
401:by Michael Dahl, about 1716.
381:Nicodemus Tessin the Younger
295:Portrait of Anne's consort,
258:Anne, Queen of Great Britain
786:by Michael Dahl, 2012-04-12
148:Queen Anne of Great Britain
122:Queen Anne of Great Britain
27:Swedish painter (1659–1743)
921:
885:Swedish portrait painters
260:, painted by Dahl in 1705
197:David Klöcker Ehrenstrahl
166:Michael Dahl was born in
156:Queen Christina of Sweden
54:National Portrait Gallery
41:
443:Prince George of Denmark
328:and the Swedish soldier
297:Prince George of Denmark
222:, who did not settle in
220:Martin Mijtens the Elder
152:Prince George of Denmark
126:Prince George of Denmark
890:Painters from Stockholm
342:Swedish queen Christina
402:
371:
330:Carl Johan Königsmarck
300:
261:
191:
174:to his mother back in
900:Immigrants to England
865:Swedish male painters
842:at Wikimedia Commons
394:
366:
340:. At that time, the
294:
255:
239:and Erik Utterhielm.
189:
717:Nisser 1927: 14, 20.
541:2012-03-12 (Swedish)
529:2012-03-12 (Swedish)
527:Nationalencyklopedin
905:Artists from London
726:Nisser 1927:14, 16.
683:Nissen 1927: 9, 12.
459:Sir Godfrey Kneller
467:Duke of Cumberland
403:
372:
369:Portrait of a Lady
301:
262:
192:
895:Swedish emigrants
838:Media related to
346:Roman Catholicism
141:
140:
106:Portrait painting
73:Stockholm, Sweden
16:(Redirected from
912:
837:
823:
820:
811:
808:
799:
796:
787:
765:
759:
756:
745:
742:
736:
733:
727:
724:
718:
715:
709:
706:
693:
692:Nisser 1927:13f.
690:
684:
681:
675:
672:
666:
663:
652:
649:
636:
633:
622:
619:
606:
603:
597:
594:
581:
578:
567:
564:
555:
550:Wilhelm Nisser,
548:
542:
539:Projekt Runeberg
536:
530:
524:
515:
514:site, 2012-04-12
499:
438:Duke of Somerset
424:Leicester Square
377:Burchardt Precht
354:Pope Innocent XI
237:Andreas von Behn
233:David von Krafft
124:and her husband
113:
46:
32:
21:
920:
919:
915:
914:
913:
911:
910:
909:
845:
844:
831:
826:
822:Nisser 1927:26.
821:
814:
810:Nisser 1927:17.
809:
802:
798:Nisser 1927:27.
797:
790:
766:
762:
758:Nisser 1927:24.
757:
748:
744:Nisser 1927:20.
743:
739:
735:Nisser 1927:16.
734:
730:
725:
721:
716:
712:
708:Nisser 1927:14.
707:
696:
691:
687:
682:
678:
674:Nisser 1927:12.
673:
669:
665:Nisser 1927:11.
664:
655:
651:Nisser 1927:10.
650:
639:
634:
625:
620:
609:
604:
600:
595:
584:
579:
570:
565:
558:
549:
545:
537:
533:
525:
518:
500:
496:
492:
420:Leicester Field
389:
387:Back in England
318:
286:Godfrey Kneller
250:
245:
184:
164:
154:and the exiled
111:
90:
84:
75:
70:
61:
48:Michael Dahl's
37:
28:
23:
22:
15:
12:
11:
5:
918:
916:
908:
907:
902:
897:
892:
887:
882:
877:
872:
867:
862:
857:
847:
846:
830:
829:External links
827:
825:
824:
812:
800:
788:
760:
746:
737:
728:
719:
710:
694:
685:
676:
667:
653:
637:
635:Nisser 1927:9.
623:
621:Nisser 1927:8.
607:
605:Nisser 1927:7.
598:
596:Nisser 1927:4.
582:
580:Nisser 1927:6.
568:
566:Nisser, 1927:3
556:
543:
531:
516:
493:
491:
488:
461:died in 1723,
455:Carnaby Street
388:
385:
317:
316:Paris and Rome
314:
310:Sir Peter Lely
249:
246:
244:
241:
183:
180:
163:
160:
139:
138:
133:
129:
128:
114:
108:
107:
104:
103:Known for
100:
99:
96:
92:
91:
85:
81:
77:
76:
71:
67:
63:
62:
47:
39:
38:
35:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
917:
906:
903:
901:
898:
896:
893:
891:
888:
886:
883:
881:
878:
876:
873:
871:
868:
866:
863:
861:
858:
856:
853:
852:
850:
843:
841:
836:
828:
819:
817:
813:
807:
805:
801:
795:
793:
789:
785:
781:
780:
775:
771:
770:
764:
761:
755:
753:
751:
747:
741:
738:
732:
729:
723:
720:
714:
711:
705:
703:
701:
699:
695:
689:
686:
680:
677:
671:
668:
662:
660:
658:
654:
648:
646:
644:
642:
638:
632:
630:
628:
624:
618:
616:
614:
612:
608:
602:
599:
593:
591:
589:
587:
583:
577:
575:
573:
569:
563:
561:
557:
553:
547:
544:
540:
535:
532:
528:
523:
521:
517:
513:
509:
505:
504:
498:
495:
489:
487:
485:
480:
478:
474:
472:
468:
464:
460:
456:
450:
448:
444:
439:
434:
433:
429:
425:
421:
415:
412:
408:
400:
399:
393:
386:
384:
382:
378:
370:
365:
361:
359:
355:
351:
347:
343:
339:
335:
331:
327:
326:Raimund Faltz
323:
315:
313:
311:
307:
298:
293:
289:
287:
283:
279:
275:
274:Samuel Clarke
271:
267:
259:
254:
247:
242:
240:
238:
234:
230:
229:German origin
225:
221:
216:
213:
209:
205:
200:
198:
188:
182:First studies
181:
179:
177:
173:
169:
161:
159:
157:
153:
149:
145:
137:
134:
130:
127:
123:
119:
118:Sir John Pole
116:Portraits of
115:
109:
105:
101:
97:
93:
88:
82:
78:
74:
68:
64:
59:
55:
51:
50:self-portrait
45:
40:
33:
30:
19:
855:1650s births
840:Michael Dahl
832:
783:
778:
773:
768:
763:
740:
731:
722:
713:
688:
679:
670:
601:
551:
546:
534:
510: at the
502:
497:
481:
476:
475:
451:
435:
431:
428:metallurgist
423:
416:
404:
396:Portrait of
395:
373:
368:
319:
306:Henry Tilson
302:
270:Robert White
263:
256:Portrait of
217:
201:
193:
165:
144:Michael Dahl
143:
142:
112:Notable work
69:1656 or 1659
52:dated 1691.
36:Michael Dahl
29:
880:1743 deaths
471:Lord Egmont
358:Ehrenstrahl
95:Nationality
18:Mikael Dahl
849:Categories
490:References
447:Queen Anne
278:Charles XI
407:Frankfurt
350:Christina
224:Stockholm
204:Hungarian
168:Stockholm
162:Childhood
89:, England
463:George I
132:Movement
457:. When
248:England
243:Travels
199:group.
136:Baroque
98:Swedish
779:Art UK
769:Art UK
512:Art UK
367:Dahl,
334:Venice
282:London
266:London
208:Sweden
176:Sweden
87:London
58:London
422:(now
411:ducat
336:then
322:Paris
212:Italy
210:from
379:and
338:Rome
172:Rome
80:Died
66:Born
56:in
851::
815:^
803:^
791:^
782:,
772:,
749:^
697:^
656:^
640:^
626:^
610:^
585:^
571:^
559:^
519:^
506:,
486:.
288:.
158:.
150:,
120:,
60:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
