COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000227
image_record_id
aahi0000227
Image Record ID
false
Work Title (display):
Nassau Harbor
Image Title:
full view
Work Dates (display):
after 1877
Work Dates type:
creation
Work Creator (display):
Albert Bierstadt (German, active USA, 1830-1902)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American painter of German birth. In a career spanning the entire second half of the 19th century, he emerged as the first technically sophisticated artist to travel to the Far West of America, adapt European and Hudson River School prototypes to a new landscape and produce paintings powerful in their nationalistic and religious symbolism. Bierstadt spent his early years in New Bedford, MA, where his family settled two years after his birth. Lacking funds for formal art instruction, he spent several years as an itinerant drawing instructor before departing in 1853 for Düsseldorf, Germany, where he hoped to study with Johann Peter Hasenclever, a distant relative and a celebrated member of the Düsseldorf art circle. Hasenclever's death shortly before Bierstadt's arrival altered the course of his study, for rather than finding German mentors, he responded to the generous assistance offered by fellow American artists Emanuel Gottlieb Leutze and Worthington Whittredge. After four years of study and travel in Germany, Switzerland and Italy, he had achieved a remarkable level of technical expertise. In 1857, his apprenticeship complete, he returned to New Bedford. The following year he made his New York début contributing a large painting, Lake Lucerne (1858; Washington, DC, N.G.A.), to the annual exhibition at the National Academy of Design. The turning-point in his career came in 1859 when he obtained permission to travel west with Frederick W. Lander's Honey Road Survey Party. Bierstadt accompanied the expedition as far as South Pass, high in the Rocky Mountains, not only making sketches, but also taking stereoscopic photographs of Indians, emigrants and members of the survey party. On his return east, Albert gave his negatives to his brothers Charles Bierstadt (18191903) and Edward Bierstadt (18241906), who shortly thereafter opened their own photography business. Albert himself, after taking space in the Tenth Street Studio Building in New York, set to work on the first of the large western landscapes on which he built his reputation. In 1860 he exhibited Base of the Rocky Mountains, Laramie Peak (untraced) at the National Academy of Design and thereby laid artistic claim to the landscape of the American West. Of all the paintings he produced following his first trip west, none drew more attention than The Rocky Mountains, Lander's Peak (1863; New York, Met.). A huge landscape combining distant mountain grandeur with a close-up view of Indian camp life, The Rocky Mountains was seen by some as the North American equivalent of Frederic Edwin Church's Heart of the Andes (1859; New York, Met.). In 1863 Bierstadt made his second trip west, accompanied by the writer Fitz Hugh Ludlow. Travelling by stagecoach and on horseback, the pair reached San Francisco in July, spent seven weeks in Yosemite Valley and then rode north as far as the Columbia River in Oregon before returning east. Following this trip, Bierstadt produced a series of paintings that took as their subject the awesome geography and spiritual power of Yosemite Valley. Such images of undisturbed nature served as welcome antidotes to the chaos and carnage of the Civil War then ravaging the eastern landscape. In 1865 Bierstadt sold The Rocky Mountains to James McHenry, an English railroad financier, for $25,000. The sale marked not only the artist's economic ascendancy but also his entry into European and American society. At the peak of his fame and wealth, Bierstadt built a magnificent home, Malkasten, on the banks of the Hudson River. He continued to produce large paintings of western mountain scenery, including Storm in the Rocky Mountains, Mt Rosalie (1866; New York, Brooklyn Mus. A.) and Domes of the Yosemite (1867; St Johnsbury, VT, Athenaeum). In June 1867 Bierstadt and his wife departed for Europe, where they spent two years travelling and mixing with potential patrons among the wealthy and titled. In Rome during the winter of 1868 he completed Among the Sierra Nevada Mountains, California (Washington, DC, N. Mus. Amer. A.), a key example of the mythic rather than topographical paintings that would occupy much of his time during the 1870s. In 1871 he returned to California and Yosemite, but the transcontinental railroad had flooded the valley with tourists, and he turned his attention to less accessible and still pristine areas such as Hetch Hetchy Valley, Kings River Canyon and the Farallon Islands. Returning east in 1873, he began work on a new series of paintings of California, as well as a commissioned work for the US Capitol, the Discovery of the Hudson (1875; in situ). In 1877, when his wife's health required a warmer climate, he began regular trips to Nassau. The island's lush landscape and tropical light offered new subject-matter and encouraged him to adopt a brighter palette. In the following decade he travelled constantly, returning to Europe, California, Canada and the Pacific Northwest. In 1881 he visited Yellowstone Park and eight years later Alaska and the Canadian Rockies. The growing American taste for paintings exhibiting French mood rather than German drama, on an intimate rather than a panoramic scale, had begun to affect Bierstadt's reputation as early as the mid-1870s, but the most painful blow came in 1889 when his ambitious western canvas, the Last of the Buffalo (1888; Washington, DC, Corcoran Gal. A.), was rejected by an American selection committee for the Paris Exposition Universelle. Declaring the canvas too large and not representative of contemporary American art, the committee reinforced the view that Bierstadt was an outmoded master. The revival of interest in Bierstadt's work in the 1960s was sparked not by the large studio paintings celebrated during the 1860s and 1870s, but rather by the fresh, quickly executed sketches done as preparatory works for the larger compositions. (Grove Art Online Accessed 2006-07-25)
Work Style Period:
19th century
work_styleperiod
19th century
Work Style Period
false
Work Subject:
water
subject
water
Work Subject
false
Work Subject:
beaches
subject
beaches
Work Subject
false
Work Subject:
ships
subject
ships
Work Subject
false
Work Subject:
boats
subject
boats
Work Subject
false
Work Subject:
seascapes
subject
seascapes
Work Subject
false
Work Subject:
oceans
subject
oceans
Work Subject
false
Work Subject:
Nassau, Bahamas
subject
Nassau, Bahamas
Work Subject
false
Work Subject:
Bahamas (nation)
subject
Bahamas (nation)
Work Subject
false
Work Worktype:
oil paintings
work_type
oil paintings
Work Worktype
false
Work Worktype:
paintings (visual works)
work_type
paintings (visual works)
Work Worktype
false
Work Material and Technique (display):
oil on paper and board
Work Measurements (display):
37.5 cm (H) x 50.8 cm (W)
Work Location (Repository or Site) name:
M.H. De Young Memorial Museum
Work Location (Repository or Site) role:
repository
Work Location (Repository or Site) refid:
1961.22
Work Location (Repository or Site) refid type:
accession
Work Location (Geographic) name:
San Francisco, California
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
public domain
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see