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Albert Bierstadt (January 7, 1830 – February 18, 1902) was a German-American painter best known for his lavish, sweeping landscapes of the American West. To paint the scenes, Bierstadt joined several journeys of the Westward Expansion. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the 19th century.

Albert Bierstadt
Bierstadt.jpg
Albert Bierstadt by Napoleon Sarony
Born (1830-01-07)January 7, 1830
Solingen, Rhine Province, Prussia
Died February 18, 1902(1902-02-18) (aged 72)
New York City, United States
Nationality American
Education Düsseldorf School
Known for Painting
Movement Hudson River School

Born in Prussia, Bierstadt was brought to the United States at the age of one by his parents. He later returned to study painting for several years in Düsseldorf. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along the Hudson River. Their style was based on carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. An important interpreter of the western landscape, Bierstadt, along with Thomas Moran, is also grouped with the Rocky Mountain School.[1]

Contents

Early life and educationEdit

Bierstadt was born in Solingen, Prussia, the son of Christina M. (Tillmans) and Henry Bierstadt, a cooper.[2] He had a brother who was 6 years older, the later photographer Edward Bierstadt. In 1831, when Albert was just one year old his family immigrated to New Bedford, Massachusetts. At an early age he made clever crayon sketches in his youth and developed a taste for art.[3]

In 1851, Bierstadt began to paint in oils.[3] He returned to Prussia in 1853 and studied painting for several years in Düsseldorf with members of its informal school of painting. After returning to New Bedford in 1857, he taught drawing and painting briefly, before devoting himself full-time to painting.[4]

CareerEdit

In 1858, Bierstadt exhibited a large painting of a Swiss landscape at the National Academy of Design, which gained him positive critical reception and honorary membership in the Academy.[4] Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. He was part of a group of artists known as the Hudson River School.

 
Rocky Mountain Landscape, in the White House
 
Among the Sierra Nevada, California (1868), Smithsonian American Art Museum, Washington, DC

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those western American landscapes.[5] He returned to a studio he had taken at the Tenth Street Studio Building in New York with sketches for numerous paintings he then finished. In 1860, he was elected a member of the National Academy of Design; he received medals in Austria, Bavaria, Belgium, and Germany.[6][unreliable source?]

In 1863, he traveled West again, this time in the company of the author Fitz Hugh Ludlow, whose wife he later married. Throughout the 1860s, Bierstadt used studies from this trip as the source for large-scale paintings for exhibition and he continued to visit the American West throughout his career.[citation needed] The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape.[7] Bierstadt's technical proficiency, earned through his study of European landscape, was crucial to his success as a painter of the American West and accounted for his popularity in disseminating views of the Rocky Mountains to those who had not seen them.[7]

During the American Civil War (1861 to 1865), Bierstadt was drafted in 1863 and paid for a substitute to serve in his place. By 1862, he had completed one Civil War painting Guerrilla Warfare, Civil War based on his brief experiences with soldiers stationed at Camp Cameron in 1861.[8] That painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. The painting received a positive review when it was exhibited at the Brooklyn Art Association at the Brooklyn Academy of Music in December 1861. Curator Eleanor Jones Harvey observed that the painting, created from photographs, "is quintessentially that of a voyeur, privy to the stories and unblemished by the violence and brutality of first-hand combat experience."[8]

Financial recognition confirmed his status: The Rocky Mountains, Lander's Peak, completed in 1863, was purchased for $25,000 in 1865.[9]

In 1867, Bierstadt traveled to London, where he exhibited two landscape paintings in a private reception with Queen Victoria.[7] He traveled through Europe for two years, cultivating social and business contacts to sustain the market for his work overseas.[7] His exhibition pieces were brilliant images, which glorified the American West as a land of promise and "fueled European emigration". He painted Among the Sierra Nevada, California in his Rome studio for example, showed it in Berlin and London before shipping it to the U.S.[10] As a result of the publicity generated by his Yosemite Valley paintings in 1868, Bierstadt's presence was requested by every explorer considering a westward expedition, and he was commissioned by the Atchison, Topeka, and Santa Fe Railroad to visit the Grand Canyon for further subject matter.[11]

Bierstadt's choice of grandiose subjects was matched by his entrepreneurial flair. His exhibitions of individual works were accompanied by promotion, ticket sales, and, in the words of one critic, a "vast machinery of advertisement and puffery."[10]

 
Rosalie Bierstadt, unknown date

Despite his popular success, Bierstadt was criticized by some contemporaries for the romanticism evident in his choices of subject and his use of light was felt to be excessive.[citation needed]

In 1876, his wife was diagnosed with tuberculosis, and from then until her death in 1893, Bierstadt spent time with her in the warmer climate of Nassau in the Bahamas. He also continued to travel to the West and Canada. In later life, Bierstadt's work fell increasingly out of critical favor. It was attacked for its theatrical tone.[7]

In 1882, a fire destroyed Bierstadt's studio at Irvington, New York, and with it many of his paintings.[3] By the time of his death on February 18, 1902,[12] the taste for epic landscape painting had long since subsided. Bierstadt was then largely forgotten.[citation needed] He was buried at the Rural Cemetery in New Bedford, Massachusetts.[citation needed]

Posthumous receptionEdit

Interest in Bierstadt's work was renewed in the 1960s with the exhibition of his small oil studies.[7] Subsequent reassessment of his work has placed it in a favorable context, as stated in 1987:

The temptation (to criticize him) should be steadfastly resisted. Bierstadt's theatrical art, fervent sociability, international outlook, and unquenchable personal energy reflected the epic expansion in every facet of western civilization during the second half of the nineteenth century.[13]

Bierstadt was a prolific artist, having completed over 500 paintings during his lifetime.[14]

Existing workEdit

Selected paintingsEdit

Legacy and honorsEdit

  • Because of Bierstadt's interest in mountain landscapes, Mount Bierstadt and Bierstadt Lake in Colorado are named in his honor. Bierstadt was probably the first European to visit the summit of Mount Evans in 1863, 1.5 miles from Mount Bierstadt.[29] Bierstadt named it Mount Rosa, a reference to both Monte Rosa above Zermatt and, Rosalie Ludlow, his future wife, but the name was changed from Rosalie to Evans in 1895 in honor of Colorado governor John Evans.
  • In 1998, the United States Postal Service issued a set of 20 commemorative stamps entitled "Four Centuries of American Art", one of which featured Albert Bierstadt's The Last of the Buffalo.[30] In 2008, the USPS issued a commemorative stamp in its "American Treasures" series featuring Bierstadt's 1864 painting Valley of the Yosemite.[31]
  • William Bliss Baker, another landscape artist, studied under Bierstadt.

ReferencesEdit

  1. ^ "Picturing America's Natural Cathedrals". Tfaoi.com. Retrieved May 20, 2012.
  2. ^ Garraty, John Arthur; Carnes, Mark Christopher; Societies, American Council of Learned (March 29, 1999). "American National Biography: Baker-Blatch". Oxford University Press – via Google Books.
  3. ^ a b c   Wilson, James Grant; Fiske, John, eds. (1900). "Bierstadt, Albert". Appletons' Cyclopædia of American Biography. New York: D. Appleton.
  4. ^ a b "Artist Info". nga.gov.
  5. ^ Mount Corcoran National Gallery of Art, retrieved September 14, 2018
  6. ^   Reynolds, Francis J., ed. (1921). "Bierstadt, Albert". Collier's New Encyclopedia. New York: P.F. Collier & Son Company.
  7. ^ a b Harvey, Eleanor Jones (2012). The Civil War and American Art. Smithsonian American Art Museum; Metropolitan Museum of Art. Yale University Press. ISBN 978-0-300-18733-5.
  8. ^ "Albert Bierstadt: The Rocky Mountains, Lander's Peak (07.123) – Heilbrunn Timeline of Art History – The Metropolitan Museum of Art". metmuseum.org.
  9. ^ a b "Among the Sierra Nevada, California by Albert Bierstadt / Exhibition Label". Smithsonian American Art Museum. 2006.
  10. ^ Barringer and Wilton, 250
  11. ^   Chisholm, Hugh, ed. (1911). "Bierstadt, Albert". Encyclopædia Britannica. 3 (11th ed.). Cambridge University Press.
  12. ^ Howat, John K., editor. American Paradise: The World of the Hudson River School, 284. Metropolitan Museum of Art, New York, 1987. ISBN 9780870994975
  13. ^ Glenda Moore (September 9, 2004). "xmission.com". xmission.com. Retrieved December 19, 2012.
  14. ^ "Albert Bierstadt: The Wolf River, Kansas (61.28) — The Detroit Institute of Arts". Dia.org. Archived from the original on February 23, 2009. Retrieved July 5, 2013.
  15. ^ "Echo Lake, Franconia Mountains, New Hampshire / North American / Art of the Americas / Highlights By Category / Collection Highlights / Collections / Smith College Museum of Art – Smith College Museum of Art". Scma.smith.edu. Retrieved July 5, 2013.
  16. ^ "Home / Smith College Museum of Art – Smith College Museum of Art". Smith.edu. Retrieved July 5, 2013.
  17. ^ "Cho-looke, the Yosemite Fall, 1864". Timken Museum of Art. Archived from the original on February 21, 2009.
  18. ^ "Valley of the Yosemite". Retrieved May 31, 2014.
  19. ^ "Yosemite Valley".
  20. ^ "In the Sierras". Harvard Art Museums. Retrieved July 5, 2013.
  21. ^ "Among the Sierra Nevada, California". Smithsonian American Art Museum. Archived from the original on June 1, 2014. Retrieved May 31, 2014.
  22. ^ "Puget Sound on the Pacific Coast". Seattle Art Museum. Archived from the original on August 1, 2017. Retrieved July 31, 2017.
  23. ^ "St. Johnsbury Athenaeum>>This Week from the Gallery Archives". Stjathenaeum.org. Archived from the original on September 27, 2013. Retrieved July 5, 2013.
  24. ^ "Mount Corcoran | Corcoran". Collection.corcoran.org. Archived from the original on May 18, 2013. Retrieved July 5, 2013.
  25. ^ "The Last of the Buffalo | Corcoran". Collection.corcoran.org. Archived from the original on May 18, 2013. Retrieved July 5, 2013.
  26. ^ "Alaskan Coast Range". Smithsonian American Art Museum. Archived from the original on May 2, 2014. Retrieved May 31, 2014.
  27. ^ "Valley Fine Art". Valley Fine Art Gallery. Retrieved March 2, 2015.
  28. ^ William Newton Byers, Bierstadt's Visit to Colorado: Sketching for the famous painting Storm in the Rocky Mountains, Magazine of Western History, Vol. XI, No. 3, Jan. 1890; page 237.
  29. ^ "ArtOnStamps.org". ArtOnStamps.org. July 9, 2010. Retrieved May 20, 2012.
  30. ^ "The Postal Store @ USPS.com". Shop.usps.com. March 28, 2011. Retrieved May 20, 2012.

Further readingEdit

  • American paradise: the world of the Hudson River school. New York: The Metropolitan Museum of Art. 1987. ISBN 9780870994968.
  • Anderson, Nancy K. et al. Albert Bierstadt, Art & Enterprise, Hudson Hills Press, Inc.: New York, New York, 1990.
  • Barringer, Tim and Wilton, Andrew. American Sublime: Landscape Painting in the United States 1820-1880, Princeton University Press, 2002. ISBN 0-691-09670-8
  • Hendricks, Gordon. Albert Bierstadt, Painter of the American West, Harrison House/Harry N. Abrams, Inc.: New York, New York 1988.
  • Miller, Angela. "Albert Bierstadt, Landscape Aesthetics, and the Meanings of the West in the Civil War Era." Art Institute of Chicago Museum Studies 27, no. 1 (Terrain of Freedom: American Art and the Civil War) (2001): 40–59 and 101–102.

External linksEdit