Dahl had had an introduction to Friedrich from Friedrich's friend Johann Jakob Rühle von Lilienstern in Berlin even before he arrived in Dresden from Copenhagen. Friedrich was friendly towards the newcomer, fourteen years his junior, from the outset; they exhibited together, became godfathers to each other's children and, in 1824, the two families moved into the same house together. A year later, Dahl and Friedrich were named 'extraordinary professors' at the Academy who had no chair but who received a regular salary.
And yet, as Marie Bang points out, while both artists were united in their contemplation of nature, there were as many differences between their artistic approaches as there were similarities, stemming from two very different temperaments. Friedrich was the idealist, driven by his religious faith, while Dahl was more the naturalist. While Friedrich's highly finished works were the result of long meditation and painstakingly applied glazes, Dahl would paint straight on to canvas, Friedrich's medievalism substituted for a more factual rendering of the landscape.
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