Albert Bierstadt by Napoleon Sarony
|Died||February 18, 1902 (aged 72)|
|Movement||Hudson River School|
Albert Bierstadt (January 7, 1830 – February 18, 1902) was a German-American painter best known for his lavish, sweeping landscapes of the American West. He joined several journeys of the Westward Expansion to paint the scenes. He was not the first artist to record the sites, but he was the foremost painter of them for the remainder of the 19th century.
Bierstadt was born in Prussia, but his family moved to the United States when he was one year old. He returned to study painting for several years in Düsseldorf. He became part of the second generation 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. Bierstadt was an important interpreter of the western landscape, and he is also grouped with the Rocky Mountain School.
Early life and education
Bierstadt was born in Solingen, Germany, the son of Christina M. (Tillmans) and Henry Bierstadt, a cooper. His brother was prominent photographer Edward Bierstadt. Albert was just a year old when his family immigrated to New Bedford, Massachusetts in 1831. He made clever crayon sketches in his youth and developed a taste for art.
In 1851, Bierstadt began to paint in oils. He returned to Germany 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.
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. 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.
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 for his work. 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.[unreliable source?]
In 1863, Bierstadt traveled West again, this time in the company of the author Fitz Hugh Ludlow, whose wife he later married. The pair spent seven weeks in the Yosemite Valley. 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. The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape. 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.
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. 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."
In 1867, Bierstadt traveled to London, where he exhibited two landscape paintings in a private reception with Queen Victoria. He traveled through Europe for two years, cultivating social and business contacts to sustain the market for his work overseas. 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. 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.
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."
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. Some critics objected to Bierstadt's paintings of Native Americans on the grounds that Indians "marred" the "impression of solitary grandeur."
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.
In 1882, a fire destroyed Bierstadt's studio at Irvington, New York, and with it many of his paintings. By the time of his death on February 18, 1902, the taste for epic landscape painting had long since subsided. Bierstadt was then largely forgotten. He was buried at the Rural Cemetery in New Bedford, Massachusetts.
Interest in Bierstadt's work was renewed in the 1960s with the exhibition of his small oil studies. Modern opinions of Bierstadt have been divided. Some critics have regarded his work as gaudy, oversized, extravagant champions of Manifest Destiny. Others have noted that his landscapes helped create support for the conservation movement and the establishment of Yellowstone National Park. 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.
Bierstadt was a prolific artist, having completed over 500 paintings during his lifetime.
- 1853 – Majesty of the Mountains
- 1855 – The Old Mill
- 1855 – The Portico of Octavia
- 1855 – Westphalia
- 1858 – Lake Lucerne, c. 1853, oil on canvas, National Gallery of Art, Washington, D.C.
- 1859 – The Wolf River, Kansas, c. 1859, oil on canvas, Detroit Institute of Arts, Detroit, Michigan
- 1861 – Echo Lake, Franconia Mountains, NH, Smith College Museum of Art, Smith College, Northampton, Massachusetts
- 1863 – The Rocky Mountains, Lander's Peak, oil on canvas, Metropolitan Museum of Art, New York City, New York
- 1864 – Cho-looke, the Yosemite Fall, oil on canvas, Timken Museum of Art, San Diego, California
- 1864 – Valley of the Yosemite, oil on paper, Museum of Fine Arts, Boston, Massachusetts
- 1866 – Yosemite Valley, Oil on canvas on panel-back stretcher, Cleveland Museum of Art, Cleveland, Ohio
- 1866 – On the Hudson River Near Irvington, 1866–70, oil on paper, Berkshire Museum, Pittsfield, Massachusetts
- 1866 – A Storm in the Rocky Mountains, Mt. Rosalie, oil on canvas, Brooklyn Museum, New York City, New York
- 1868 – Connecticut River Valley, Claremont, New Hampshire, 1868, oil on canvas, Berkshire Museum, Pittsfield, Massachusetts
- 1868 – In the Sierras, Fogg Museum, Harvard University, Cambridge, Massachusetts
- 1868 – Among the Sierra Nevada, California, Smithsonian American Art Museum, Washington, D.C.
- 1869 – Glen Ellis Falls, oil on canvas, Zimmerli Art Museum, New Brunswick, New Jersey
- 1870 - Sierra Nevada Morning, oil on canvas, Gilcrease Museum, Tulsa, Oklahoma
- 1870 – Puget Sound on the Pacific Coast, oil on canvas, Seattle Art Museum, Seattle, Washington
- 1871 – Domes of Yosemite, c. 1871, St. Johnsbury Athenaeum, St. Johnsbury, Vermont
- 1874 – Giant Redwood Trees of California, c. 1874, oil on canvas, Berkshire Museum, Pittsfield, Massachusetts
- 1875 – Mount Adams, Washington, 1875, oil on canvas, Princeton University Art Museum, Princeton, New Jersey
- 1876 – Mount Corcoran, c. 1876–77, oil on canvas, Corcoran Gallery of Art, Washington, D.C.
- 1888 – The Last of the Buffalo, oil on canvas, Corcoran Gallery of Art, Washington, D.C.
- 1889 – Alaskan Coast Range, c. 1889, Smithsonian American Art Museum, Washington, D.C.
- 1891 – The Last of the Buffalo, c. 1891, vintage photogravure, Valley Fine Art Gallery, Aspen, Colorado
- 1895 – The Morteratsch Glacier Upper Engadine Valley – Pontresina
Storm in the Rocky Mountains, Mount Rosalie (1866), Brooklyn Museum, New York
Sunrise on the Matterhorn, Metropolitan Museum of Art
Estes Park, Long's Peak, 1877, Denver Art Museum (on loan from the Denver Public Library)
Legacy and honors
- 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. 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. In 2008, the USPS issued a commemorative stamp in its "American Treasures" series featuring Bierstadt's 1864 painting Valley of the Yosemite.
- William Bliss Baker, another landscape artist, studied under Bierstadt.
- "Picturing America's Natural Cathedrals". Tfaoi.com. Retrieved May 20, 2012.
- Garraty, John Arthur; Carnes, Mark Christopher; Societies, American Council of Learned (March 29, 1999). American National Biography: Baker-Blatch. Oxford University Press. ISBN 9780195127812 – via Google Books.
- Wilson, J. G.; Fiske, J., eds. (1900). . Appletons' Cyclopædia of American Biography. New York: D. Appleton.
- "Artist Info". nga.gov.
- Mount Corcoran National Gallery of Art, retrieved September 14, 2018
- Reynolds, Francis J., ed. (1921). . Collier's New Encyclopedia. New York: P. F. Collier & Son Company.
- Hassrick, Peter H. (Spring 2018). "Art, Agency, and Conservation: A Fresh Look at Albert Bierstadt's Vision of the West". Montana The Magazine of Western History. 68 (1).
- "Bierstadt, Albert", National Gallery of Art. Retrieved February 2, 2018.
- 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.
- "Albert Bierstadt: The Rocky Mountains, Lander's Peak (07.123) – Heilbrunn Timeline of Art History – The Metropolitan Museum of Art". metmuseum.org.
- "Among the Sierra Nevada, California by Albert Bierstadt / Exhibition Label". Smithsonian American Art Museum. 2006.
- Barringer and Wilton, 250
- Chisholm, Hugh, ed. (1911). Encyclopædia Britannica. 3 (11th ed.). Cambridge University Press. .
- Howat, John K., editor. American Paradise: The World of the Hudson River School, 284. Metropolitan Museum of Art, New York, 1987. ISBN 9780870994975
- Glenda Moore (September 9, 2004). "xmission.com". xmission.com. Retrieved December 19, 2012.
- "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.
- "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.
- "Home / Smith College Museum of Art – Smith College Museum of Art". Smith.edu. Retrieved July 5, 2013.
- "Cho-looke, the Yosemite Fall, 1864". Timken Museum of Art. Archived from the original on February 21, 2009.
- "Valley of the Yosemite". Retrieved May 31, 2014.
- "Yosemite Valley".
- "In the Sierras". Harvard Art Museums. Retrieved July 5, 2013.
- "Among the Sierra Nevada, California". Smithsonian American Art Museum. Archived from the original on June 1, 2014. Retrieved May 31, 2014.
- "Puget Sound on the Pacific Coast". Seattle Art Museum. Archived from the original on August 1, 2017. Retrieved July 31, 2017.
- "St. Johnsbury Athenaeum>>This Week from the Gallery Archives". Stjathenaeum.org. Archived from the original on September 27, 2013. Retrieved July 5, 2013.
- "Mount Corcoran | Corcoran". Collection.corcoran.org. Archived from the original on May 18, 2013. Retrieved July 5, 2013.
- "The Last of the Buffalo | Corcoran". Collection.corcoran.org. Archived from the original on May 18, 2013. Retrieved July 5, 2013.
- "Alaskan Coast Range". Smithsonian American Art Museum. Archived from the original on May 2, 2014. Retrieved May 31, 2014.
- "Valley Fine Art". Valley Fine Art Gallery. Retrieved March 2, 2015.
- William Newton Byers, Bierstadt's Visit to Colorado: Sketching for the famous painting, "Storm in the Rocky Mountains", Magazine of Western History, Vol. 11, No. 3, Jan. 1890; page 237-240.
- "ArtOnStamps.org". ArtOnStamps.org. July 9, 2010. Retrieved May 20, 2012.
- "The Postal Store @ USPS.com". Shop.usps.com. March 28, 2011. Retrieved May 20, 2012.
- Anderson, Nancy K. et al. Albert Bierstadt, Art & Enterprise, New York: Hudson Hills Press, 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, New York: Harrison House/Harry N. Abrams, Inc., 1988.
- American Paradise: The World of the Hudson River School. New York: The Metropolitan Museum of Art. 1987. ISBN 9780870994968.
- 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. doi:10.2307/4102838. JSTOR 4102838.
|Wikimedia Commons has media related to Albert Bierstadt.|
- Works by or about Albert Bierstadt at Internet Archive
- Albert Bierstadt (albertbierstadt.org)
- Albert Bierstadt Paintings at fineartamerica.com
- White Mountain paintings by Albert Bierstadt
- A finding aid to the Albert Bierstadt letter collection, 1880–1893 in the Archives of American Art, Smithsonian Institution
- "Against His Grain: Albert Bierstadt's 'Clouds Over the Prairie'" MONA Moment, Museum of Nebraska Art
- Gallery of Bierstadt's Paintings
- The Winterthur Library—Overview of an archival collection on Albert Bierstadt.
- Albert Bierstadt Paintings Gallery—345 images online
- Albert Bierstadt's Biography at The R.W. Norton Art Gallery
- "'Giant Redwood Trees' will fall at Berkshire Museum despite interpretive value", The Berkshire Eagle, June 30, 2018
- Albert Bierstadt, WikiArt
- Albert Bierstadt at Find a Grave