Tuesday, April 16, 2019
In Germany, Bierstadt came to be deeply impressed by the tradition of heroic painting for which the Düsseldorf Academy was famous. Upon his return to the United States he became part of the informal group of artists known as the Hudson River School. Their art work depicted a pastoral American landscape, with detailed and realistic images, but portrayed with a romantic lyricism. In later years, Bierstadt would transfer that aesthetic to the American West.
“Sunlight and Shadow,” which Bierstadt painted in 1862 based on sketches he had made while in Germany. The print was produced in Berlin in rich chromolithography, an elaborate process which was thought to be convey the subtlety of Bierstadt’s rendering of the dappling of light and shadow on the church door, statues and cobblestones. This print was quite a success, being touted as “the finest specimen of art yet seen in the country,” and it well demonstrates Bierstadt’s masterful use of light in his paintings.
However, it was the American West which would provide Bierstadt with his greatest subjects. From his travels in 1858 and 1859, Bierstadt was tremendously impressed with the Rocky Mountains, which would provide him with the subject matter for his most famous paintings. Bierstadt passed through the Rockies in the nascent days of the great American expansion west; the transcontinental railroad, the pony express, and most of the Indian wars lay in the future. Thus Bierstadt saw and absorbed an almost pristine frontier, for which the rocky peaks provided an emphatic exclamation.
In 1863, Bierstadt again traveled west, passing through the Rocky Mountains on the way to California. On this trip, Bierstadt made many sketches which he would mine over the years to create a series of superb, large-scale paintings which established him as the preeminent artist of the West. He was not the first professional artist to depict the west, “But Bierstadt became the most successful of them all and created a vision of the West that still endures..... Bierstadt was the first important artists to satisfy the renewed interest in landscape painting with original scenes from the West.” (Tyler, Prints of the West, p. 133)
large engraving of the painting. It took Smillie three years to finish the print, which is considered one of the best American landscape engravings of the nineteenth century.
Following this, Bierstadt received many commissions for new works, was acclaimed at home and abroad, and hobnobbed with the rich and royal. His canvases continued to dramatically portray the awe-inspiring grandeur of the Rockies. His were “the first paintings to capture successfully the wonder and excitement that the artist and other early trail blazers felt when they confronted the spectacular western scenery.” (Trenton & Hassrick, The Rocky Mountains, Oklahoma, 1983)
Storm in the Rocky Mountains, Mt. Rosalie,” showing Mount Evans in Colorado. [Bierstadt named the mountain after Rosalie Ludlow, who would soon become his wife. It was renamed Mount Evans in 1895, after John Evans, the second governor of the Colorado Territory.] Like with the earlier painting, Bierstadt used artistic license to rearrange his sketches to achieve what he thought was the most artistic result. In the canvas, Mount Evans is shown from Chicago Lakes, arising out of the midst of storm clouds. An Indian town lies in the middle ground on the shores of a lake while a small hunting party tries to corral some horses that appear frightened by the approaching storm.
chromolithography ever produced, not to mention as examples of the greatest nineteenth century art of the American West.