Early life with an Approaching Storm'', 1814|alt= ''|alt= 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 would have achieved even more than he had.
Time at Bergen (c 1815) 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 , whose workshop was the most important one in Bergen at the time. Still, Dahl looked back on his teacher as having kept him in ignorance in order to exploit him, putting him to work painting theatrical sets, portraits, and views of Bergen and its surroundings. Another mentor,
Lyder Sagen, showed the aspiring artist books about art and awakened his interest in historical and patriotic subjects. It was also Sagen who took up a collection that made it possible for Dahl to go to
Copenhagen in 1811 to complete his education at the academy there. 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 artistic program was, then, already in place: he would become a part of the great landscape tradition, but he would also be as faithful as possible to nature itself. File:Jacob van Ruisdael - Berglandschap met waterval.jpg|Painting by Jacob van Ruisdael in the collection of
Adam Gottlob Moltke in 1812 File:Johan Christian Dahl - Copy of Landscape by J. Ruisdael - NG.M.00050 - National Museum of Art, Architecture and Design.jpg|Dahl's 1812 copy of it, which impressed both Moltke and the Prince File:Jacob van Ruisdael - Landscape with waterfall and castle on a mountaintop.jpg|Another Ruisdael in Moltke's collection in 1812 File:Johan Christian Dahl - Copy of Landscape by J. Ruisdael - NG.M.00049 - National Museum of Art, Architecture and Design.jpg|Dahl's 1813 copy of it, which again impressed both Moltke and the Prince 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 summer, it was not to show the light and colors of snow; it was to use snow as a symbol of death. As one critic has put it, "Unlike the radically Romantic works also appearing at the time, Dahl softens his landscape, introducing elements of genre painting by imbuing it with anecdotal materials: In the background a wisp of smoke rises from a cabin, perhaps the home of the hunter on the snow-covered field." Thanks to Sagen's recommendations and to his own personal charm, Dahl soon gained access to the leading social circles in Copenhagen. 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 collection, became a lifelong friend and patron of the artist. 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 this way: "A warm and sociable character, he soon met and became friendly with the more introverted and reclusive Friedrich, recording how they once walked together in the park of the Grösser Garten among 'many lovely trees of different kinds, and the moon looked beautiful behind the dark fir trees.'" 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==