Set in a wild landscape evoking his native Norway and depicting Dahl alongside fellow painter Caspar David Friedrich, this picture pays homage to Friedrich’s 1819 masterpiece Two Men Contemplating the Moon, which Dahl received as a gift from the artist (now Gemäldegalerie, Dresden). A later variant of Friedrich’s composition is in the Metropolitan (2000.51); in that work, Friedrich stands beside his friend the painter August Heinrich, who was also a friend of Dahl’s.
Sunset Waterfall
“Every time I go for a hike in Hawai’i my path generally leads to a beautiful cliffside vista or a beautiful waterfall (sometimes both!) I remember one instance where we had hiked into a very special beach on the North West side of Kaua’i. We were making our way back on the 4 hour hike when my husband suggested we should go wash off at this beautiful waterfall that was “Really close by” we hiked for about 90 minutes when we came upon this natural beauty I had been promised. We went for a swim in the frigid waters, walked behind the falls and played like we were little kids again. Before we knew it, the late afternoon was giving into the evening and we found ourselves with the decision to hike out mostly in the dark or just enjoy being where we were. We watched the sunset, built a fire and settled in for the night.”
Matted artwork by Heather Brown featuring a serene waterfall seen at sunset in a tropical oasis.
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Heather Brown’s matted prints are printed on 100% acid-free natural sugar cane paper. Made by our experienced team in Honolulu, each matted print is assembled using archival materials inside a custom embossed mat with a brief biography of the artist attached to the reverse side.
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About the Artist
Artist Heather Brown has gained a worldwide reputation for her unique abstract Hawaii art style. Most commonly known for painting tropical landscapes, sandy beaches, epic waves, surfers, and tropical flowers.
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Sunset Waterfall (01) (2023) Digital Arts by China Alicia Rivera
The edition run continues. The production of new works is ongoing. These may be numbered. This includes works made-to-order, or prints on demand.
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Sunset Waterfall (01) – Art By China Alicia Rivera (Creative Artist), ObsidianParadise23 | Photoshopflair | Abstract, Art, Design, Drawing, Illustration, Digital Arts, AiArt. About This Artwork: I am Journeying into a New World with my Art. This is A Mix of My Abstract Art Creations I make using *Adobe Photoshop mixed with AI Art Images[. ]
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Sunset Waterfall (01) – Art By China Alicia Rivera (Creative Artist), ObsidianParadise23 | Photoshopflair | Abstract, Art, Design, Drawing, Illustration, Digital Arts, AiArt.
About This Artwork: I am Journeying into a New World with my Art. This is A Mix of My Abstract Art Creations I make using *Adobe Photoshop mixed with AI Art Images that I Made By Uploading My Art into a AI Art Generator such as *Wombo to Create and Visualize New Art. Each Art piece is unique, because the AI Art Generator is using my Art as a Guide for New Colors, Designs, and Ideas; which afterwards I Further Edit to my hearts desire using *Adobe Photoshop again. I sincerely hope you enjoy my Mixed Media Art Creations.
About this artwork: Classification, Techniques & Styles
Digital art refers to a diverse set of creative categories using the specifics of language and digital devices, computer, interface or network. It has developed as an artistic genre since the early 1960s. As a growing number of digital artists got involved, Digital arts have developed to several distinct sub categories such as: Fractal/Algorithmic Art, Data-Moshing, Dynamic Painting, 2D & 3D Computer Graphics, Pixel Art, Digital Photography, Photo-painting or digital painting.
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Welcome. Thank you for stopping by. More Images to come! – Photography & Art By China Alicia Rivera (Creative Artist) | Op23hq “Obsidian Paradise 23 High Quality” | Photoshopflair | Abstract, Art, Design,[. ]
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Welcome. Thank you for stopping by. More Images to come! – Photography & Art By China Alicia Rivera (Creative Artist) | Op23hq “Obsidian Paradise 23 High Quality” | Photoshopflair | Abstract, Art, Design, Drawing, Illustration, Digital Arts, AiArt.
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Bio:
My name is China Alicia Rivera, and i Like to take Photos, Love to Draw, Create Digital Art and Do Digital Painting and Colorizing. The medium that i use for drawing is Black Ink Markers on Paper. Once my Drawing is complete i then Scan it onto the Computer and Began my Digital Painting and Colorizing Process. My goal with my Art is to make Beautiful Art that can be Printed over and over again, that way i can share my Art and Vision with a Wide Audience that Loves Art as much as i do. I Also have a great interest in Adobe Photoshop, so that is what i use to Edit, Colorize, and Finalize my images. The Adobe Photoshop program is my Favorite software program to use to Enhance my Images, but it is also my Favorite program to use to Create Wonderful Digital Art. I have a great Love for the Photoshop Software program and i use it in many ways to finalize my images, ultimately creating the perfect finished Art Piece. I Love to work with my hands when it comes to Drawing, but i also love to work on the Computer as well, and so my Brand represents the use and combination of Traditional Art Making, and Digital Technology such as Adobe Photoshop and Ai Technology, as a Creative Process to Create a Finalized Art piece that i hope people will Love and that can be One Day sold Worldwide. Thank you for taking the time to visit my art gallery. And hopefully you find something you like.
Inspirations:
What Inspires my Art is my environment. I grew up in Brooklyn, New York. And in many neighborhoods around Brooklyn New York, you will see Graffiti, and some of it is very nice and some of it is very colorful. That to me inspires my sense of how i use colors. Another thing that inspires me Artistically is Parks and Recreational spaces around New York City. Parks and Recreational spaces In all Five Boroughs: Brooklyn, Queens, Manhattan, Bronx and Staten Island tend to be very creative looking Architecturally, and that to me inspires the twists and turns that you will see in my Abstract Artworks. Another thing that i find very inspiring for me is Just living in a Big City in General. Many of The buildings in a City is very Architecturally stunning in terms of materials used and the way the sun bounces off the colors on a Beautiful building on a Sunny day. That inspires me to create highlights and glowing areas in my work. And finally, one of my greatest Artistic Inspirations that i think is a fantastic person is Vincent Van Gogh. His story and His Art touches my heart in a special way, and i like to think that there is just a little bit of Van Gogh’s Spirit Influencing me when i Draw and Color that somehow expands His Creative influence and Spirit In The World. Thank you.
– Creative Artist: China Alicia Rivera
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- Nationality:UNITED STATES
- Date of birth : 1984
- Artistic domains:
- Groups:Contemporary American Artists
Artwork Details
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Title: Two Men before a Waterfall at Sunset
Artist: Johan Christian Dahl (Norwegian, Bergen 1788–1857 Dresden)
Medium: Oil on canvas
Dimensions: 15 x 14 in. (38.1 x 35.6 cm)
Credit Line: Gift of Christen Sveaas, in celebration of the Museum’s 150th Anniversary, 2019
Accession Number: 2019.167.3
Two men stand at a precipice beside towering spruce trees. They look across a gorge toward a majestic waterfall, having paused together to contemplate this untamed scenery at sunset. The figure on the left, shown wearing a top hat and overcoat, is most likely a self-portrait by Dahl. The man to his right, though depicted from behind—a Rückenfigur in German—is the painter Caspar David Friedrich (1774–1840), identifiable by his old-German style hat and cape. In 1823, the year this painting was made, Dahl moved into an apartment at number 33 An der Elbe in the city of Dresden, capital of the east German state of Saxony, becoming Friedrich’s upstairs neighbor. They had been friends since immediately after Dahl’s arrival in Dresden in 1818.[1] Until that point, Dahl, a native of Norway, was based in Copenhagen, where he trained for seven years at the Danish Royal Academy of Fine Art.[2]
Two Men before a Waterfall at Sunset recasts a painting of 1819 by Friedrich, Two Men Contemplating the Moon, now in the Gemäldegalerie, Dresden (see fig. 1 above). Dahl owned the painting by Friedrich, having received it in exchange for one of his own.[3] (There are two versions, one datable about 1824, in the Alte Nationalgalerie, Berlin, and another, of about 1825–30, in The Met, 2000.51). In Two Men Contemplating the Moon, Friedrich depicted himself seen from behind with his friend and disciple August Heinrich (1794–1822). The three artists were fond of one another, as reflected in statements made by Dahl. On February 17, 1819, he wrote: “called on the landscape painter Heinrich, who has recently started to paint in oil. His work pleased me enormously, from this man one can expect something.”[4] (At the Edge of the Forest, one of five known oils by Heinrich, is in The Met’s collection [2008.6]) In an undated manuscript, Dahl wrote that he saw in Friedrich’s landscapes “the fundamental idea of a deep, high art—yes, they are like dream pictures from an unknown world.”[5] By including his own likeness in the present work, Dahl testified to his friendship with Friedrich shortly after Heinrich’s premature death at the age of twenty-eight.
When an artist places figures seen from the back within a landscape painting, the viewer is put in the position of seeing what they see, reinforcing the viewer’s own relationship to nature. One attribute of the Romantic period was the notion that the contemplation of nature afforded a sense of deep communion with the cosmos, which the poet Johann Wolfgang von Goethe (1749–1832) described as a connection with “the holy fire which animates all Nature.”[6] Dahl had already employed Rückenfiguren, adopted from Friedrich, in his paintings, but his general approach to composition was fundamentally different from Friedrich’s.[7] Whereas Friedrich tended to compose his prospects around a central axis—Two Men Contemplating the Moon is somewhat exceptional in this regard—perspectival recession in Dahl’s pictures is characteristically based on a diagonal. In Two Men before a Waterfall at Sunset, the diagonal commences with the pair of figures at the lower left and continues toward the setting sun, obscured by the dense screen of trees.
One obvious difference between Friedrich’s picture and Dahl’s is their respective landscape settings. Based on Dahl’s written statements from the period and those by contemporaries who may have commented on the picture, it is unclear what source the artist used for the scenery. While reminiscent of the Sächsische Schweiz region south of Dresden and the Riesengebirge, east of the city, the source may be someplace farther afield (see Bang 1987). What is clear is that the wildness of the terrain evokes what had long been thought of in the realm of painting as a “Norwegian” landscape, a type pioneered by seventeenth-century Dutch artists Allart van Everdingen and Jacob van Ruisdael, whose works could be seen in public and private collections throughout Europe. As early as 1812, Dahl wrote: “The landscape painters I try to learn from are Ruisdael and Everdingen.”[8] Dahl was explicitly identified with them soon after he began to gain a reputation in Dresden.[9]
Dahl’s predilection for old master models, for the scenery of his native country, and for naturalistic details are hallmarks of his work. Yet the painting was not intended to be a topographically accurate description of a specific place. Instead, what is paramount in this work is the relationship of the figures to their surroundings, that is, the mood or feeling they convey. This type of landscape is known in German as a Stimmungslandschaft, and it is this aspect of the painting that underlies Dahl’s connection to Friedrich and to the wider circle of Romantic landscape painters in and around Dresden, including not only August Heinrich but such figures as Carl Gustav Carus (see, for example, The Met 2007.192 and 2018.749) and Julius von Leypold (see, for example, The Met 2008.7).
Dahl sold this painting to Dr. Christian Gottfried Hillig (1777–1844), a lawyer in Leipzig, by January 1824. Hillig began to acquire paintings by Friedrich as early as 1813, and his impressive collection eventually included at least three of them. Perhaps, then, Friedrich was the connection between Hillig and Dahl. This was Hillig’s only painting by Dahl.[10]
Bang (1987) describes three related drawings, including a study for the man in old-style German costume, dated and inscribed “Graf von Harro von Nordfriesland, Dresden d. 21 Decbr. 1819” (private collection, Bergen, in 1987); a study for the man leaning against the rock, dated “d. 4 Martz 1820,” which was also used for other paintings of the period (Nasjonalgalleriet, Oslo, inv. B 1652; see n. 6); and a ricordo, which is signed, dated, and inscribed “1824. Nach Leipzig – An Dr. Hillig / Dahl f.” (KODE Art Museums, Bergen, inv. 346, LV. 150).
Asher Miller 2019
[1] See Bang 1987, vol. 1, esp. pp. 39–42, 73–83.
[2] Norway and Denmark were united politically until 1814, when Norway was obliged to accept Swedish sovereignty.
[3] The picture by Dahl is River in the Plauenscher Grund, 1820, KODE Museums, Bergen, inv. BB. 146. The trade seems to have occurred by April 1820; see Bang 1987, vol. 2, pp. 94–95, no. 197, vol. 3, pl. 88.
[4] Quoted in Bang 1987, vol. 1, p. 41. Thirty-eight drawings by Heinrich, purchased from Heinrich’s estate by Dahl, are in the Nasjonalgalleriet, Oslo; see Sabine Rewald, “August Heinrich: Poet of Loschwitz Cemetery,” Master Drawings 39 (summer 2001), pp. 143ff.
[5] Quoted in Bang 1987, vol. 1, pp. 83, 255.
[6] Johann Wolfgang von Goethe, The Sorrows of Young Werther, 1774, trans. Victor Lange, New York, 1949.
[7] See Bang 1987, under References, as well as nos. 185, 1176, 1215. For an expanded discussion of the group to which the latter two relate, see also Petra Kulman-Hodick in the catalogue for Dresden-Oslo 2014–15, pp. 102–5.
[8] Letter to Lyder Sagen, Copenhagen, June 13, 1812, quoted in Bang 1987, vol. 1, p. 232.
[9] W. C. Müller, Künstblatt, no. 19 (1819), p. 73, quoted in Bang 1987, vol. 1, pp. 41, 191 n. 5, and see p. 263.
[10] All four paintings were included in Hillig’s estate sale (see provenance). The Friedrichs are catalogued in Helmut Börsch-Supan and Karl Wilhelm Jähnig, Caspar David Friedrich: Gemälde, Druckgraphik und bildmäßige Zeichnungen, Munich, 1973, as Landscape with Garden Party (no. 200, whereabouts unknown), Ship in Full Sail on the High Seas (no. 216, private collection, Hamburg), and Pine Forest with a Rising Moon (no. 273, whereabouts unknown). On Hillig, see Herrmann Zschoche, Caspar David Friedrich: Die Briefe, Hamburg, 2006, p. 78. Börsch-Supan and Jähnig included Elbe Landscape, also known as Flat Landscape or Evening Landscape in the Riesengebirge (no. 272, Kulturhistorisches Museum, Stralsund) among the works in Hillig’s estate sale as well, tentatively assigning it as no. 9 in the 1862 Hillig sale catalogue, but, according to the curator at the Stralsund museum, the painting most likely was not a part of the Hillig collection and entered their collection as a gift from the widow Odebrecht in Greifswald in 1858 (whereas the catalogue raisonné includes the widow in the provenance for the picture, but places her ownership after Hillig, stating that it was acquired by the museum from her with no specificity of date beyond “before 1895”).
Inscription: Signed and dated (bottom center): Dahl 1823
the artist, Dresden (until 1824; sold, probably in January, to Hillig); Dr. Christian Gottfried Hillig, Leipzig (ca. 1824–d. 1844; his estate sale, Rudolph Weigel’s Kunstauction, Leipzig, May 26, 1862, no. 4, as “Landschaft; ein Sonnenuntergang”); private collection, Leipzig (acquired in Leipzig in the 1920s); his heir, Germany (until 2005; sale, Sotheby’s, London, June 14, 2005, no. 152, for £170,400 [$307,802]); Christen Sveaas, Norway (by 2007–19)
Oslo. Nasjonalgalleriet. “Alene med naturen: Dahls og Friedrichs landskaper 1810–40,” October 10, 2014–January 4, 2015, no. 17 (as “Utsikt med foss”).
Dresden. Albertinum. “Dahl und Friedrich: Romantische Landschaften,” February 6–May 3, 2015, no. 17 (as “Blick über eine Felsenschlucht mit Wasserfall”).
Johan Christian Dahl. Diary entry. July 11, 1823 [see Bang 1987], notes receipt of letter from Dr. Hillig in Leipzig, possibly in connection with this painting.
Johan Christian Dahl. Diary entry. July 13, 1823 [see Bang 1987], notes that he has sent a letter to Dr. Hillig with the price of “the big landscape,” possibly a reference to this painting.
Johan Christian Dahl. Diary entry. January 3, 1824 [see Bang 1987], notes receipt of a letter from Dr. Hillig (see Provenance).
Johan Christian Dahl. Diary entry. January 4, 1824 [see Bang 1987], notes that he has sent a letter to Dr. Hillig (see Provenance).
Johan Christian Dahl. Diary entry. January 8, 1824 [see Bang 1987], notes receipt of a letter from Dr. Hillig, enclosing 51 Rd. 4 Gr. as payment for this painting.
Johan Christian Dahl. Einnahmen für die Jahre 1824–1855. January 1824 [Universitetsbiblioteket, Oslo, Ms. Fol. 1882k; excerpt published in English trans. in Bang 1987], notes “Doct. Hillig –50 Rd,” referring to payment for this painting.
Marie Lødrup Bang. Johan Christian Dahl, 1788–1857: Life and Works. Oslo, 1987, vol. 2, pp. 152–53, no. 438; vol. 3, pl. 176 (drawing after the painting), publishes early manuscript references.
Marie Lødrup Bang. Letter to Sotheby’s. April 1, 2005 [see Sotheby’s, London, June 14, 2005, p. 48, under no. 152 (under Provenance)], states that the picture is from the early years of Dahl’s career and that it may be a reminiscence of the waterfall at Terni from his trip to Italy in 1820/21.
Frode [Ernst] Haverkamp in Dahl og Friedrich: Alene med Naturen. Exh. cat., Nasjonalgalleriet, Oslo. Dresden, 2014, pp. 112–13, no. 17, ill. (color) [German ed., “Dahl und Friedrich: Romantische Landschaften”].
Werner Busch in Dahl og Friedrich: Alene med Naturen. Exh. cat., Nasjonalgalleriet, Oslo. Dresden, 2014, p. 18 [German ed., “Dahl und Friedrich: Romantische Landschaften”].
Petra Kuhlmann-Hodick in Dahl og Friedrich: Alene med Naturen. Exh. cat., Nasjonalgalleriet, Oslo. Dresden, 2014, p. 105 [German ed., “Dahl und Friedrich: Romantische Landschaften”].
Gifts of Art: The Met’s 150th Anniversary. New York, 2020, p. 194.
Bang (1987) includes as a possible reference to this work a description of a painting seen in Dahl’s studio that appeared in Artistisches Notizenblatt, no. 6 (March 1825), p. 23. The author notes the painting seen in the studio in 1825 as “Eine Ansicht von der Schneekoppe in einer tiefgehende Schlucht und auf der Kochelfall, Früchte seiner Wandern aufs Riesengebirge vorigen Sommer, er warten nur die vollendenden Ausführung.” This description is no more particularly allied to the image in The Met’s picture than to other mountainous landscapes by Dahl, and the 1825 sighting of the work in Dahl’s studio would have been over a year after the most likely date of sale of the picture to Hillig, so the 1825 publication has been omitted from References here.
