Folke Edwards, the Swedish art critic and writer, describes poetically Peter Dahl's paintings from Aspudden, south of Stockholm (pp. 141-143):

"Now he also paints the magnificent views from his studio overlooking Aspudden south of Söder. Even when he moved in 1976, he was drawn to the grand motif, but it is not until the early 1990s that he seriously engages with it and takes it on in large formats for full orchestra. His approach to the subject is now more akin to that of the Impressionist than the Expressionist. It is as if he wanted to train his eye and his ability to objectively register observations once again. The romantic imagination takes a back seat (the only romantic landscape I have seen by him is interestingly from Caribanien), now it is about sharpening the senses. Like a Monet, he patiently studies the same motif at different times of the year and day. The colour palette is Nordic and sharp, lacking a French bouquet, but the attitude towards the motif, the approach to the landscape, is similar. With the difference that Peter only really paints impressionistically when it snows or rains. When the air is still and clear, the landscape is more distinct and he takes on an almost classical stance. Occasionally—when the expression approaches the heroic or sublime—one thinks of national romantics like the painters Richard Bergh or Karl Nordström, but as a rule, Peter is more sober and cooler than the national romantics. He does not animate or mystify nature as we Nordics tend to do; he observes it with the objectively distant gaze of a Latin. Now it is not the temperament of women but that of air and light that interests him. Nature evokes no sentimental or mystical feelings. It is as it is. The landscape is not transformed into a symbol of the artist's or the nation's state of mind but serves as a model or study object. It is astonishing how confidently this corporeal, probing sensualist also masters the grand perspective, the wide vista, and the endless space with its constantly shifting temperament and expressions. A painting like Winter View from Aspudden towards the Northeast (1993) belongs to the truly significant landscape depictions in Swedish 20th-century art. But perhaps there is still a dimension in these clarifying views that connects to the moods of deluge and doom. What we see is a vast sky, a great nature, and a small town. Humanity is no longer at the centre, and her proud creations rising towards the sky appear fragile in this almost cosmic perspective, while the clouds loom ominously towards a fateful eruption. The humanistic or anthropocentric perspective that has been dominant in Peter's artistry has given way to a new one, which gives our own role in the world entirely different proportions. The emperor of Caribanien sees Tellus from the same perspective as Cellus."