MOUNT HOOD / WY' EAST PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902)

Mount Hood / Wy 'east (3,429m - 11, 249ft)

United States of America (Oregon) 

In Indians crossing the Columbia river with Mt Hood in the distance, 1867

oil on canvas, 60.3 x 90.8 cm. Private collection (Sotheby's London)

Catalogue note about this painting 

Albert Bierstadt’s dramatic views of the majestic American West earned him broad popularity as one of the country's most distinguished artists of the mid-nineteenth century. He was among the greatest American painters to fully capture the splendor of the landscape and to record the many moods of its climate and terrain. Bierstadt was one of the very few artists to have traveled in the western territories and his views were eagerly anticipated and met with curiosity and wonder. His idealized interpretations of the western landscape brought to life the image of the fabled frontier for many who would never travel there.
It was on his second journey west in 1863 with the writer Fitz Hugh Ludlow that Bierstadt first beheld Mount Hood. The party traveled up from California into the Pacific Northwest on horseback and then by steamer and rail up the Columbia River from near Mount Hood. According to Patricia Junker, “Mount Hood was an almost continual presence as the two men made their way up the Columbia, and we know from Ludlow that Bierstadt studied it intently, seeing it from different perspectives, from the northeast and the northwest, and in the changing light of different times of day. At Dalles City Bierstadt paid an ‘old Indian interpreter and trapper’ to guide him to a high point southwest of town that offered the most imposing view of the mountain in the rising sun, and there he spent most of a morning making oil studies of the opaline peak. ‘His work upon this mountain was in some respects the best he ever accomplished,’ Ludlow offered, ‘being done with a loving faithfulness hardly called out by Hood’s only rival, the Peak of Shasta’” 

Albert Bierstadt: Puget Sound on the Pacific Coast, Seattle, Washington, 2011, p. 38).
As is typical of his distinctive aesthetic, Bierstadt presents a heroic vision of the Oregon landscape in Indians on the Columbia River. Suffused with a rosy golden light, the snowcapped, rocky peak of Mount Hood rises proudly above the Columbia River where a group of Indians row their boat across its crystalline waters towards the shore. Emanating tranquility and serenity, this Edenic vision of wilderness demonstrates Bierstadt’s response to the national desire for renewal and a return to peace in the aftermath of the Civil War. However, works such as Indians on the Columbia River additionally attest to Bierstadt’s desire to adapt the European ideal of the sublime – the ability of the natural world to elicit awe and wonder – to an explicitly American landscape. The dramatic geological features he found throughout the West lent themselves well to this endeavor, but this preoccupation deepened during his travels in the Pacific Northwest; for the first time Bierstadt found volcanoes that rivaled those of South America such as Cotopaxi, which had already been famously portrayed on several occassions by Bierstadt’s contemporary, Frederic Edwin Church

The mountain
Mount Hood / Wy'east (3,429m-11,249ft) is a potentially active stratovolcano in the Cascade Volcanic Arc of northern Oregon. It was formed by a subduction zone on the Pacific coast and rests in the Pacific Northwest region of the United States. It is located about 50 miles (80 km) east-southeast of Portland, on the border between Clackamas and Hood River counties. In addition to being Oregon's highest mountain, it is one of the loftiest mountains in the nation based on its prominence.
The height assigned to Mount Hood's snow-covered peak has varied over its history.
The peak is home to 12 named glaciers and snowfields. It is the highest point in Oregon and the fourth highest in the Cascade Range. Mount Hood is considered the Oregon volcano most likely to erupt, though based on its history, an explosive eruption is unlikely. Still, the odds of an eruption in the next 30 years are estimated at between 3 and 7 %, so the U.S. Geological Survey (USGS) characterizes it as "potentially active", but the mountain is informally considered dormant.

The painter
Albert Bierstadt was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth.
In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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. 

Full Wandering Vertextes entry  =>

___________________________________________

2019 - Wandering Vertexes...

by Francis Rousseau 

MOUNT LAFAYETTE PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902) 

Mount Lafayette (1,600m - 5,249 ft) 

United State of America 

The Mountain 

Mount Lafayette (1,600m - 5,249 ft)  is a mountain at the northern end of the Franconia Range in the White Mountains of New Hampshire, United States. It is located in the town of Franconia in Grafton County. It is on the New England Fifty Finest list of the most topographically prominent peaks in New England. The upper portion of the mountain is located in the alpine zone, an area where only small vegetation exists due to the harsh climate.

The mountain is named to honor General Lafayette, a French military hero of the 18th century who fought with and significantly aided the Continental Army and was loved and adopted by George Washington during the American Revolutionary War. Lafayette re-visited New Hampshire and all the other states in an extremely popular, triumphal tour during 1824-1825, celebrating the 50th anniversary of the Battle of Bunker Hill.

Mount Lafayette is the highest point in the Franconia Range, a line of peaks along the east side of Franconia Notch. It is the sixth highest peak in New Hampshire and the highest outside of the Presidential Range. It is the second most prominent peak in the state. On the western side, its lower slopes lie inside Franconia Notch State Park. The remainder of the mountain lies within the White Mountain National Forest. The summit marks the western border of the Pemigewasset Wilderness Area within the WMNF.

The painter 

Albert Bierstadt was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. 

In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.

In 1858 he 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.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career.

During the American Civil War, Bierstadt paid for a substitute to serve in his place when he was drafted in 1863. He completed one Civil War painting Guerrilla Warfare, Civil War in 1862, based on his brief experiences with soldiers stationed at Camp Cameron in 1861.

Bierstadt's painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. Bierstadt's 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 observes that Bierstadt's 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 1860, he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany.[ In 1867 he 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.

As a result of the publicity generated by his Yosemite paintings, 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 technical proficiency, earned through his study of European landscape, was crucial to his success as a painter of the American West. It accounted for his popularity in disseminating views of the Rockies to those who had not seen them. The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape. 

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. 

In 1882 Bierstadt's studio at Irvington, New York, was destroyed by fire, resulting in the loss of 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 his work was renewed in the 1960s, with the exhibition of his small oil studies. The subsequent reassessment of Bierstadt's work has placed it in a favorable context.

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. Many of these are held by museums across the United States.

Several mountain paintings by Bierstadt are published in this blog.  To find them, go to his name in the column on the right and just click on his name.

Sources: 

- Wilson, James Grant; Fiske, John, eds. (1900). "Bierstadt, Albert". Appletons' Cyclopedia of American Biography. New York: D. Appleton.

- Reynolds, Francis J., ed. (1921). "Bierstadt, Albert". Collier's New Encyclopedia. New York: P.F. Collier & Son Company

LANDER'S PEAK (2) PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT  (1830-1902) 

Lander's Peak (3,187 m - 10,456 ft)
United States of America (Wyoming)

 In In The Rockies, looking at Lander's peak, 1863, oil on canvas,  

The painting 
This painting is different from the one called  The Rocky Mountains, Lander's Peak, a landscape painted the same year (1863)  by the German-American painter Albert Bierstadt and based on sketches made during Bierstadt's travels with Frederick W. Lander's Honey Road Survey Party in 1859. This painting is about the summit of Lander's Peak, with two Native american riding horses(on right)  one showing the summit to the other.  The landscape in this painting is nearly as it is really and not an ideal landscape altered by Bierstadt for dramatic effect like in  The Rocky Mountains, Lander's Peak.

The mountain 

Lander's Peak,  is a mountain with a summit of (3,187 m - 10,456 feet) in the Wyoming Range in modern-day Wyoming. The peak was named after Frederick W. Lander on Bierstadt's initiative, after Lander's death in the Civil War.  In one description of the painting, it is described as : "Sharply pointed granite peaks and fantastically illuminated clouds float above a tranquil, wooded genre scene."  There are not a lot of informations about this peak, which is only the second highest peak of the Wyoming range, but was made quite famous buy Bierstadt painting.
The Wyoming Range is a mountain range located in west-central Wyoming. It is a range of the Rocky Mountains that runs north-south near the western edge of the state. Its highest peak is Wyoming Peak, which stands at (3,470 m - 11,383 feet) above sea-level.  The range is sometimes referred to as The Wyomings.
The vast majority of the range is public land administered by the U.S. Forest Service as part of the Bridger-Teton National Forest and is a popular destination for hiking, camping, fishing, horseback riding, snowmobiling, hunting, and other activities.  The range contains numerous lakes and developed campgrounds, in addition to many wild and primitive areas.  The closest towns to the range include Big Piney, Marbleton, La Barge, and Kemmerer.
A branch of the Oregon Trail known as the Lander Road traverses the mountain range. The cutoff offered emigrants a shorter travel option. Numerous grave sites and historical markers can be found relating to the trail.
The range is not to be confused with the Salt River Range, which runs closely parallel to the Wyoming Range on its western side. The two ranges are separated by Grey's River.
The United States House of Representatives voted March 25, 2009, to grant wilderness status to two million acres (8,000 km²) of public land in nine states. The Omnibus Public Land Management Act, which had already been passed by the Senate, was approved in the House by a 285-to-140 vote. It was signed into law March 30 by President Barack Obama. The legislation included the Wyoming Range Legacy Act, which shields 1,200,000 acres (4,900 km2) of the Wyoming Range from future oil and gas leasing. Leases that were issued in the 1,200,000 acres (4,900 km2) withdrawal area prior to passage of the Omnibus Public Land Management Act were not affected by the legislation.

The painter 

Albert Bierstadt was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. 

In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.

In 1858 he 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.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career.

During the American Civil War, Bierstadt paid for a substitute to serve in his place when he was drafted in 1863. He completed one Civil War painting Guerrilla Warfare, Civil War in 1862, based on his brief experiences with soldiers stationed at Camp Cameron in 1861.

Bierstadt's painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. Bierstadt's 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 observes that Bierstadt's 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 1860, he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany.[ In 1867 he 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.

As a result of the publicity generated by his Yosemite paintings, 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 technical proficiency, earned through his study of European landscape, was crucial to his success as a painter of the American West. It accounted for his popularity in disseminating views of the Rockies to those who had not seen them. The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape. 

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. 

In 1882 Bierstadt's studio at Irvington, New York, was destroyed by fire, resulting in the loss of 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 his work was renewed in the 1960s, with the exhibition of his small oil studies. The subsequent reassessment of Bierstadt's work has placed it in a favorable context.

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. Many of these are held by museums across the United States.

LE MONT RAINIER PEINT PAR ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902)
Mont Rainier (4.932m)
Etats-Unis (Etat de Washington)

In Mount Rainier, 1876, oil on canvas, Smithsonian American Art Museum.

 

Le volcan
Le mont Rainier (4.932m) est un volcan situé dans l'État de Washington, aux États-Unis. Il constitue le point culminant de l'État et de la chaîne des Cascades. Il est recouvert par une importante calotte glaciaire. C'est un stratovolcan actif de l'arc volcanique des Cascades, dont la dernière éruption remonterait à la fin du 19e siècle. Situé à une centaine de kilomètres au sud-sud-est de l'agglomération de Seattle, il présente des risques pour les populations et les infrastructures environnantes, notamment en raison des potentiels lahars. Découvert par les premiers Européens en 1792 lors d'un voyage d'exploration mené par George Vancouver, le volcan tire son nom de son ami, le contre-amiral dans la Royal Navy Peter Rainier. Sa première ascension remonte à 1870. Dans les années 1890, la nécessité de protéger ses ressources naturelles et économiques est démontrée ; il est ainsi intégré au Parc national du mont Rainier, qui attire depuis une foule de visiteurs en quête de nature et d'alpinistes à la recherche de sommets. Son ascension présente des difficultés liées à la météorologie et à l'évolution en milieu glaciaire.
Le sommet du mont Rainier possède trois cimes : la plus élevée se nomme Columbia Crest ; la deuxième est Point Success (4 315 mètres), une cime secondaire au sud-ouest, et la troisième Liberty Cap (4 303 mètres et 151 mètres de proéminence) au nord-ouest. Sur le flanc oriental se trouve également le pic Little Tahoma à 3 394 mètres, qui est un vestige érodé du mont Rainier lorsqu'il était encore plus élevé ; avec 256 mètres de proéminence et en dehors des voies principales vers le sommet du mont Rainier, il peut être considéré comme un sommet distinct et, le cas échéant, le troisième plus élevé de l'État de Washington après le mont Adams.

Le peintre
Albert Bierstadt est un peintre allemand naturalisé américain. Connu pour ses paysages de l'Ouest americain Bierstadt faisait partie de l’Hudson River School, un groupe informel de peintres du xixe siècle pratiquant une peinture romantique, baignée d’une lumière radieuse qui lui valu taussi l'appellation de Luminisme. Albert Bierstadt est né à Solingen en province de Rhénanie. Sa famille émigre à New Bedford en 1833. Il étudie la peinture avec des membres de l’École de peinture de Düsseldorf de 1853 à 1857 et voyage sur le continent européen avec ses amis, les peintres Sanford Robinson Gifford et Worthington Whittredge. De retour aux États-Unis, il enseigne un temps le dessin à New Bedford avant de se consacrer entièrement à son art. En 1859, il entreprend un voyage vers l’Ouest jusqu'aux montagnes Rocheuses, en compagnie d’un arpenteur du gouvernement américain. Il retourne dans l’Ouest en 1863 avec l’écrivain Fitz Hugh Ludlow, dont la femme devint plus tard son épouse. En 1863, Albert Bierstadt demande à William Byers, fondateur du journal de Denver, le Rocky Mountain News, de lui servir de guide pour une expédition d'Idaho Springs, vers le sommet du Mont Evans, qui sera d'abord appelé Mont Bierstadt, puis Mont Rosalie.
Dans les années 1870, il vit à San Francisco. En 1876, sa femme est diagnostiquée tuberculeuse, aussi le couple passe-t-il plusieurs mois par année à Nassau aux Bahamas jusqu'au décès de la malade en 1893. Pendant cette période, le peintre voyage également, en solitaire, au Canada. En 1882, plusieurs de ses œuvres sont détruites dans l'incendie de son atelier, situé dans le comté de Westchester en banlieue de New York.
Pendant sa longue carrière, Bierstadt a produit plus de 500 toiles.

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2024 - Gravir les montagnes en peinture
Un blog de Francis Rousseau   

LANDER'S PEAK PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT  (1830-1902) 

Lander's Peak (3,187 m - 10,456 feet)
United States of America (Wyoming)

In The rocky Mountain in 1863 - MET - New York 
and Fogg Museum Cambridge

The painting 
The Rocky Mountains, Lander's Peak is a landscape painted in 1863  by the German-American painter Albert Bierstadt. It is based on sketches made during Bierstadt's travels with Frederick W. Lander's Honey Road Survey Party in 1859. The painting shows Lander's Peak in the Wyoming Range of the Rocky Mountains, with an encampment of Native Americans in the foreground.
The landscape in the painting is not the actual landscape as it appears at Lander's Peak, but rather an ideal landscape based on nature, altered by Bierstadt for dramatic effect.
Bierstadt's painting hit a nerve with contemporary Americans, by portraying the grandeur and pristine beauty of the nation's western wilderness. It was a reference to the idea of Manifest Destiny, where the Rocky Mountains represented both natural beauty, and an obstacle to westward expansion.  In the words of historian Anne F. Hyde: "Bierstadt painted the West as Americans hoped it would be, which made his paintings vastly popular and reinforced the perception of the West as either Europe or sublime Eden."  At the same time, the Native Americans in the foreground gave the scene authenticity, and presented it as a timeless place, untouched by European hands.
Bierstadt was a shrewd self-promoter as well as a gifted artist, and this was the first of his paintings to be widely promoted with a single-picture exhibition, accompanied by a pamphlet, engravings and a tour.  Twelve hundred people were invited for the first exhibition of Landers Peak, and almost a thousand showed up.  The painting, with its ten-foot width, was intended both for exhibition halls and the homes of America's emergent millionaire class.  In 1865 it was purchased by British railway entrepreneur James McHenry for the (at the time) high price of $25,000.   Bierstadt later bought it back, and gave or sold it to his brother Edward, before it was eventually acquired for the Metropolitan Museum of Art in New York in 1907.
Comparisons were made between Lander's Peak and The Heart of the Andes, a contemporary painting by one of Bierstadt's main rivals in the landscape genre, Frederic Edwin Church.  The two works represented the two great mountain ranges spanning North and South America. At the New York Metropolitan Fair in 1864, held by the United States Sanitary Commission to raise money for the Union war effort, the two paintings were exhibited opposite each other.  Lander's Peak and The Heart of the Andes are still exhibited on opposite walls at their current location at the Metropolitan.
Most reviews of the painting were positive; one review called it "beyond question one of the finest landscapes ever painted in this country", adding, "Its artistic merits are in some respects unrivalled: and added to these it has the advantage of being a representative painting of a portion of the most sublime and beautiful scenery on the American Continent."  
The painting won a prize at the Exposition Universelle in Paris in 1867.
At the same time, there were also critical voices; in particular, some American Pre-Raphaelites found his brushwork wanting. One such critic complained that it would have been better "if the marks of the brush had, by dexterous handling, been made to stand for scrap and fissure, crag and cranny, but as it is, we have only too little geology and too much bristle."

The mountain 

Lander's Peak,  is a mountain with a summit of (3,187 m - 10,456 feet) in the Wyoming Range in modern-day Wyoming. The peak was named after Frederick W. Lander on Bierstadt's initiative, after Lander's death in the Civil War.  In one description of the painting, it is described as : "Sharply pointed granite peaks and fantastically illuminated clouds float above a tranquil, wooded genre scene."  There are not a lot of informations about this peak, which is only the second highest peak of the Wyoming range, but was made quite famous buy Bierstadt painting.
The Wyoming Range is a mountain range located in west-central Wyoming. It is a range of the Rocky Mountains that runs north-south near the western edge of the state. Its highest peak is Wyoming Peak, which stands at (3,470 m - 11,383 feet) above sea-level.  The range is sometimes referred to as The Wyomings.
The vast majority of the range is public land administered by the U.S. Forest Service as part of the Bridger-Teton National Forest and is a popular destination for hiking, camping, fishing, horseback riding, snowmobiling, hunting, and other activities.  The range contains numerous lakes and developed campgrounds, in addition to many wild and primitive areas.  The closest towns to the range include Big Piney, Marbleton, La Barge, and Kemmerer.
A branch of the Oregon Trail known as the Lander Road traverses the mountain range. The cutoff offered emigrants a shorter travel option. Numerous grave sites and historical markers can be found relating to the trail.
The range is not to be confused with the Salt River Range, which runs closely parallel to the Wyoming Range on its western side. The two ranges are separated by Grey's River.
The United States House of Representatives voted March 25, 2009, to grant wilderness status to two million acres (8,000 km²) of public land in nine states. The Omnibus Public Land Management Act, which had already been passed by the Senate, was approved in the House by a 285-to-140 vote. It was signed into law March 30 by President Barack Obama. The legislation included the Wyoming Range Legacy Act, which shields 1,200,000 acres (4,900 km2) of the Wyoming Range from future oil and gas leasing. Leases that were issued in the 1,200,000 acres (4,900 km2) withdrawal area prior to passage of the Omnibus Public Land Management Act were not affected by the legislation.

The painter 

Albert Bierstadt was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. 

In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.

In 1858 he 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.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career.

During the American Civil War, Bierstadt paid for a substitute to serve in his place when he was drafted in 1863. He completed one Civil War painting Guerrilla Warfare, Civil War in 1862, based on his brief experiences with soldiers stationed at Camp Cameron in 1861.

Bierstadt's painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. Bierstadt's 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 observes that Bierstadt's 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 1860, he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany.[ In 1867 he 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.

As a result of the publicity generated by his Yosemite paintings, 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 technical proficiency, earned through his study of European landscape, was crucial to his success as a painter of the American West. It accounted for his popularity in disseminating views of the Rockies to those who had not seen them. The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape. 

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. 

In 1882 Bierstadt's studio at Irvington, New York, was destroyed by fire, resulting in the loss of 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 his work was renewed in the 1960s, with the exhibition of his small oil studies. The subsequent reassessment of Bierstadt's work has placed it in a favorable context.

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. Many of these are held by museums across the United States.

MOUNT SIR DONALD PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT (1811-1902)

Mount Sir Donald  (3, 284 m - 10,774  ft)

Canada

 In Mount Sir Donald, oil on canvas The Haggin Museum, Stockton, California

The mountain 

Mount Sir Donald  (3, 284 m - 10,774  ft) is a peak in the Selkirk Mountains range near the Rogers Pass area of British Columbia, Canada. It was originally named Syndicate Peak in honor of the group who arranged the finances for the completion of the Canadian Pacific Railway, but was later renamed after Donald Smith, 1st Baron Strathcona and Mount Royal, head of the syndicate.

The  good rock quality  of Mount Sir Donald and  its classic Matterhorn shape make it popular for alpine rock climbers, and the Northwest Arete route is included in the popular book 50 Classic Climbs of North America. There are no truly easy routes to its summit although some of the routes are not technically difficult. Even before its inclusion as one of the 50 classic climbs of North America the peak was a very popular objective indeed, especially the Northwest Ridge. It is worth noting that the peak seems to create its own weather at times as it towers above the surrounding peaks, and the lichen on the rock is very slippery when wet. The recorded routes on all sides range in rating from class 4 to 5.8+.

The first ascent was made in 1890 by two Swiss alpinist, Emil Huber and Carl Sulzer and porter Harry Cooper. As of the 1910s, an average of three or four ascents per year were being made.

The painter 

Albert Bierstadt was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. 

In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.

In 1858 he 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.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career.

During the American Civil War, Bierstadt paid for a substitute to serve in his place when he was drafted in 1863. He completed one Civil War painting Guerrilla Warfare, Civil War in 1862, based on his brief experiences with soldiers stationed at Camp Cameron in 1861.

Bierstadt's painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. Bierstadt's 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 observes that Bierstadt's 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 1860, he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany.[ In 1867 he 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.

As a result of the publicity generated by his Yosemite paintings, 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 technical proficiency, earned through his study of European landscape, was crucial to his success as a painter of the American West. It accounted for his popularity in disseminating views of the Rockies to those who had not seen them. The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape. 

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. 

In 1882 Bierstadt's studio at Irvington, New York, was destroyed by fire, resulting in the loss of 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 his work was renewed in the 1960s, with the exhibition of his small oil studies. The subsequent reassessment of Bierstadt's work has placed it in a favorable context.

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. Many of these are held by museums across the United States.

Several mountain paintings by Bierstadt are published in this blog.  To find them, go to his name in the column on the right and just click on his name. 

Sources: 

- Appletons' Cyclopedia of American Biography. New York: D. Appleton.

- Collier's New Encyclopedia. New York: P.F. Collier & Son Company

THE WHITES PAINTED BY ALBERT BIERSTADT

 ALBERT BIERSTADT (1830-1902) 

White Mountains  (1,917m - 6,288ft) 

United States of America  (New Hampshire) 

In  Turbulent Clouds, White Mountains, New Hampshire,  oil on canvas, 1858 

The mountain 

The White Mountains also called The Whites are a mountain range covering about a quarter of the state of New Hampshire and a small portion of western Maine in the United States. They are part of the northern Appalachian Mountains and the most rugged mountains in New England. The range is heavily visited due to its proximity to Boston and, to a lesser extent, New York City and Montreal, Quebec, Canada.

Most of the area is public land, including the White Mountain National Forest and a number of state parks. Its most famous mountain is  (1,917 m- 6,288-ft) Mount Washington, which is the highest peak in the Northeastern U.S. and for 76 years held the record for fastest surface wind gust in the world (231 miles per hour (372 km/h) in 1934 . 

The White Mountains also include the Franconia Range, Sandwich Range, Carter-Moriah Range and Kinsman Range in New Hampshire, and the Mahoosuc Range straddling the border between it and Maine. In all, there are 48 peaks within New Hampshire as well as one (Old Speck Mountain) in Maine over 4,000 feet (1,200 m), known as the four-thousand footers.

The Whites are known for a system of alpine huts for hikers operated by the Appalachian Mountain Club. The Appalachian Trail crosses the area from southwest to northeast.

The painter 

Albert Bierstadt was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. 

In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.

In 1858 he 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.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career.

During the American Civil War, Bierstadt paid for a substitute to serve in his place when he was drafted in 1863. He completed one Civil War painting Guerrilla Warfare, Civil War in 1862, based on his brief experiences with soldiers stationed at Camp Cameron in 1861.

Bierstadt's painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. Bierstadt's 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 observes that Bierstadt's 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 1860, he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany.[ In 1867 he 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.

As a result of the publicity generated by his Yosemite paintings, 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 technical proficiency, earned through his study of European landscape, was crucial to his success as a painter of the American West. It accounted for his popularity in disseminating views of the Rockies to those who had not seen them. The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape. 

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. 

In 1882 Bierstadt's studio at Irvington, New York, was destroyed by fire, resulting in the loss of 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 his work was renewed in the 1960s, with the exhibition of his small oil studies. The subsequent reassessment of Bierstadt's work has placed it in a favorable context.

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. Many of these are held by museums across the United States.

_______________________________

2018 - Wandering Vertexes...

by Francis Rousseau 

MOUNT BREWER BY ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902)

Mount Brewer  (4,138 m - 13,576 ft)

United States of America (California) 

 In Mount Brewer from King's River Canyon, 1872, oil on canvas, Private Collection Texas

The mountain 

Mount Brewer  (4,138 m - 13,576 ft) is on the Great Western Divide, a sub-range of the Sierra Nevada in California. It is located in Kings Canyon National Park. The peak was named for William Henry Brewer who worked on the first California Geological Survey and was the first Chair of Agriculture at Yale University's Sheffield Scientific School. He was chief of the field party that explored the central High Sierra in 1864.

The painter 

Albert Bierstadt was a German-born American painter.  In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.

In 1858 he 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.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career.

During the American Civil War, Bierstadt paid for a substitute to serve in his place when he was drafted in 1863. He completed one Civil War painting Guerrilla Warfare, Civil War in 1862, based on his brief experiences with soldiers stationed at Camp Cameron in 1861.

Bierstadt's painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. Bierstadt's 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 observes that Bierstadt's 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 1860, he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany. In 1867 he 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.

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. 

Bierstadt was a prolific artist, having completed over 500 paintings during his lifetime. Many of these are held by museums across the United States.

MOUNT HOOD / WY'EAST BY ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902)

Mount Hood  / Wy 'east (3,429m - 11, 249ft)
United States of America (Oregon) 

 In Mount Hood, 1869, oil on canvas,  Portland Art Museum

About this Painting

In Mount Hood, Bierstadt characteristically exaggerates the height of the mountain and includes several landscape elements that could not be viewed from a single site along the Columbia River Gorge. For example, Mount Hood is painted as though seen from the northern shore of the Columbia River and Multnomah Falls, but the profile of the mountain is actually the one seen from Portland, and featured in a Childe Hassam painting nearby. The drama and monumentality of the far West, as a metaphor, was more important to Bierstadt than geographic accuracy.

In Notice from he Portland Art Museum 

The mountain 

 Mount Hood (3,429m - 11, 249ft) called Wy'east by the Multnomah tribe, is a potentially active stratovolcano in the Cascade Volcanic Arc of northern Oregon. It was formed by a subduction zone on the Pacific coast and rests in the Pacific Northwest region of the United States. It is located about 50 miles (80 km) east-southeast of Portland, on the border between Clackamas and Hood River counties. In addition to being Oregon's highest mountain, it is one of the loftiest mountains in the nation based on its prominence.

The height assigned to Mount Hood's snow-covered peak has varied over its history. Modern sources point to three different heights: 11,249 feet (3,429 m), a 1991 adjustment of a 1986 measurement by the U.S. National Geodetic Survey,  11,240 feet (3,426 m) based on a 1993 scientific expedition,and 11,239 feet (3,425.6 m) of slightly older origin. 

The peak is home to 12 named glaciers and snowfields. It is the highest point in Oregon and the fourth highest in the Cascade Range. Mount Hood is considered the Oregon volcano most likely to erupt, though based on its history, an explosive eruption is unlikely. Still, the odds of an eruption in the next 30 years are estimated at between 3 and 7 %, so the U.S. Geological Survey (USGS) characterizes it as "potentially active", but the mountain is informally considered dormant.

The painter 

Albert Bierstadt was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. 

In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.

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. 

In 1882 Bierstadt's studio at Irvington, New York, was destroyed by fire, resulting in the loss of 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 his work was renewed in the 1960s, with the exhibition of his small oil studies. The subsequent reassessment of Bierstadt's work has placed it in a favorable context.

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. Many of these are held by museums across the United States.

MOUNT WASHINGTON BY ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902),

Mount Washington (1, 916m - 6, 286ft)

United States of America  (New Hampshire)

In Autumn in the Conway Meadows Looking Towards Mount Washington, oil on canvas,
 Private collection 

The mountain 

Mount Washington (1, 916m - 6, 286ft) is the highest point in the northeastern United States. It is located in the White Mountains in the county of Coos. Most of the mountain is located in the White Mountain National Forest and Mount Washington State Park.
The mountain is called Agiocochook, the "abode of the great spirit," by the Amerindians. A scientific expedition led by geologist Dr. Cutler named Mount Washington in 1784.
While the western slope, which climbs the Cog Railway, is regular from its base, the other slopes are more complex. To the north, Great Gulf, the largest glacial circus in the mountains, is surrounded by the Northern Presidentials, namely Clay, Jefferson, Adams and Madison Mountains. These peaks reach far beyond the alpine zone beyond the tree line. The imposing Chandler Ridge extends northeast from the top of Mount Washington to form the southern wall of the amphitheater. It is paced by a motorway to the summit.
The first European to mention the mountain is Giovanni da Verrazzano in 1524, who sees it from the Atlantic Ocean and describes it as a "high mountain of the interior". Irishman Darby Field says he made his first ascent in 1642.
The Crawford Path, the oldest hiking trail in the United States, was established in 1819 as a mule track from the Crawford Notch Gorge to the summit and has been in use since that time. Ethan Allen Crawford built a lodge at the summit in 1821 that resisted a storm five years later.  In the middle of the nineteenth century, the mountain became a major tourist destination of the country, with the construction of new trails and two hotels. The Summit House, a 20-meter-long stone building with a roof attached to four heavy chains, was opened in 1852. The following year, the Tip-Top House was erected to compete with it. Rebuilt in wood with 91 rooms in 1872-1873, the Summit House burned in 1908 and was replaced by a granite building in 1915. Only the Tip-Top House resists fire; it is now classified in the National Register of Historic Places and has recently been renovated to house exhibitions. Among the attractions of the Victorian era is also a coach road built in 1861, now the Mount Washington Auto Road, and the Mount Washington Cog Railway, a cog railway established in 1869, in service.

The painter 

Albert Bierstadt  was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. 

In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.

In 1858 he 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.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career.

During the American Civil War, Bierstadt paid for a substitute to serve in his place when he was drafted in 1863. He completed one Civil War painting Guerrilla Warfare, Civil War in 1862, based on his brief experiences with soldiers stationed at Camp Cameron in 1861.

Bierstadt's painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. Bierstadt's 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 observes that Bierstadt's 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 1860, he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany.[ In 1867 he 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.

As a result of the publicity generated by his Yosemite paintings, 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 technical proficiency, earned through his study of European landscape, was crucial to his success as a painter of the American West. It accounted for his popularity in disseminating views of the Rockies to those who had not seen them. The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape. Financial recognition confirmed his status: The Rocky Mountains, Lander's Peak, completed in 1863, was purchased for $25,000 in 1865.

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. 

In 1882 Bierstadt's studio at Irvington, New York, was destroyed by fire, resulting in the loss of 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 his work was renewed in the 1960s, with the exhibition of his small oil studies. The subsequent reassessment of Bierstadt's work has placed it in a favorable context.

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. Many of these are held by museums across the United States.

MOUNT ADAMS / PAHTO PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT  (1830-1902) 

Mount Adams or Patho or Klikitat (3, 473m - 12, 281ft) 

United States of America (Washington State) 

In Mount Adams , 1875, oil on canvas, Princeton University Art Museum, USA

The mountain

Mount Adams or Patho or Klikitat (3, 473m - 12, 281ft)  is a potentially active stratovolcano in the Cascade Range, USA. Although Adams has not erupted in more than 1,000 years, it is not considered extinct. It is the second-highest mountain in the U.S. state of Washington, after Mount Rainier/Tacoma. Mount Adams is a member of the Cascade Volcanic Arc, and is one of the arc's largest volcanoes, located in a remote wilderness approximately 34 miles (55 km) east of Mount St. Helens. The Mount Adams Wilderness consists of the upper and western part of the volcano's cone. The eastern side of the mountain is designated as part of the territory of the Yakama Nation.

Adams' asymmetrical and broad body rises 1.5 miles (2.4 km) above the Cascade crest. Its nearly flat summit was formed as a result of cone-building eruptions from separated vents. A false summit, Pikers Peak, rises 11,657 feet (3,553 m) on the south side of the nearly half-mile (800 m) wide summit area. The true summit is about 600 feet (180 m) higher on the gently sloping north side. A small lava and scoria cone marks the highest point. Suksdorf Ridge is a long buttress descending from the false summit down to an elevation of 8,000 feet (2,000 m). This structure was built by repeated lava flows in the late Pleistocene. 

Air travelers flying the busy routes above the area sometimes confuse Mount Adams with nearby Mount Rainier/Tacoma, which has a similar flat-topped shape.

The Pacific Crest Trail traverses the western flank of the mountain.

In the early 21st century, glaciers cover a total of 2.5% of Adams' surface. During the last ice age about 90% of the mountain was glaciated. Mount Adams has 209 perennial snow and ice features and 12 officially named glaciers : Adams Glacier, Pinnacle Glacier, White Salmon Glacier,  Avalanche Glacier, Mazama Glacier, Klickitat Glacier, Rusk Glacier, Wilson Glacier, Gotchen Glacier, Crescent Glacier and Lava Glacier.

 The Painter 
Albert Bierstadt was a German-born American painter.At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.
In 1858 he 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.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.
In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career....
 - More on Albert Bierstadt 's life and works

MOUNT TACOMA or MOUNT RAINIER PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902) 

Mount Tacoma also called Mont Rainier  (4,392 m -14,411 ft) 
United States of America  (Washington)

In Mont Rainier, 1870, oil on canvas,  Private Collection 

The Mountain

Mount Rainier,  Mount Tacoma, or Mount Tahoma (4,392 m-14,411 ft) is the highest mountain of the Cascade Range of the Pacific Northwest, and the highest mountain in the U.S. state of Washington. It is a large active stratovolcano located 54 miles (87 km) south-southeast of Seattle. It is the most topographically prominent mountain in the contiguous United States and the Cascade Volcanic Arc.

Mount Rainier was first known by the Native Americans as Talol, or Tacoma or Tahoma. One hypothesis of the word origin is  ("mother of waters"), in the Lushootseed language spoken by the Puyallup people. Another hypothesis is that "Tacoma" means "larger than Mount Baker" in Lushootseed: "Ta", larger, plus "Koma", Mount Baker. Other names originally used include Tahoma, Tacobeh, and Pooskaus.

The current name was given by George Vancouver, who named it in honor of his friend, Rear Admiral Peter Rainier. The map of the Lewis and Clark expedition of 1804-1806 refers to it as "Mt. Regniere".
 This peak is located just east of Eatonville and just southeast of Seattle and Tacoma. Mount Rainier is ranked third of the 128 ultra-prominent mountain peaks of the United States. Mount Rainier has a topographic prominence of 13,210 ft (4,026 m), which is greater than that of K2, the world's second-tallest mountain, at 13,189 ft (4,020 m). On clear days it dominates the southeastern horizon in most of the Seattle-Tacoma metropolitan area to such an extent that locals sometimes refer to it simply as "the Mountain." On days of exceptional clarity, it can also be seen from as far away as Corvallis, Oregon (at Marys Peak) and Victoria, British Columbia.

With 26 major glaciers and 36 sq mi (93 km2) of permanent snowfields and glaciers, Mount Rainier is the most heavily glaciated peak in the lower 48 states. The summit is topped by two volcanic craters, each more than 1,000 ft (300 m) in diameter, with the larger east crater overlapping the west crater. Geothermal heat from the volcano keeps areas of both crater rims free of snow and ice, and has formed the world's largest volcanic glacier cave network within the ice-filled craters, with nearly 2 mi (3.2 km) of passages. A small crater lake about 130 by 30 ft (39.6 by 9.1 m) in size and 16 ft (5 m) deep, the highest in North America with a surface elevation of 14,203 ft (4,329 m), occupies the lowest portion of the west crater below more than 100 ft (30 m) of ice and is accessible only via the caves. The Carbon, Puyallup, Mowich, Nisqually, and Cowlitz Rivers begin at eponymous glaciers of Mount Rainier. The sources of the White River are Winthrop, Emmons, and Fryingpan Glaciers. The White, Carbon, and Mowich join the Puyallup River, which discharges into Commencement Bay at Tacoma; the Nisqually empties into Puget Sound east of Lacey; and the Cowlitz joins the Columbia River between Kelso and Longview.

Mountain climbing on Mount Rainier is difficult, involving traversing the largest glaciers in the U.S. south of Alaska. Most climbers require two to three days to reach the summit. Climbing teams demand experience in glacier travel, self-rescue, and wilderness travel. About 8,000 to 13,000 people attempt the climb each year, about 90% via routes from Camp Muir on the southeast flank. Most of the rest ascend Emmons Glacier via Camp Schurman on the northeast. About half of the attempts are successful, with weather and conditioning being the most common reasons for failure. All climbers who plan to climb above high camps, Camp Muir and Camp Schurman, are required by law to purchase a Mount Rainier Climbing Pass and register for their climb. Additionally, solo climbers must fill out a solo climbing request form and receive written permission from the Superintendent before attempting to climb.

The worst mountaineering accident on Mount Rainier occurred in 1981, when eleven people lost their lives in an ice fall on the Ingraham Glacier. This was the largest number of fatalities on Mount Rainier in a single incident since 32 people were killed in a 1946 plane crash on the South Tahoma Glacier.
About two mountaineering deaths each year occur because of rock and ice fall, avalanche, falls, and hypothermia associated with severe weather (58 reported since and including the 1981 accident through 2010 per American Alpine Club Accidents in North American Mountaineering and the NPS).

The painter 

Albert Bierstadt (January 7, 1830 – February 18, 1902) was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth. 

In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.

In 1858 he 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.  At this time Bierstadt began painting scenes in New England and upstate New York, including in the Hudson River valley. A group of artists known as the Hudson River School portrayed its majestic landscapes and craggy areas, as well as the light affected by the changing waters.

In 1859, Bierstadt traveled westward in the company of Frederick W. Lander, a land surveyor for the U.S. government, to see those landscapes.  He continued to visit the American West throughout his career.

During the American Civil War, Bierstadt paid for a substitute to serve in his place when he was drafted in 1863. He completed one Civil War painting Guerrilla Warfare, Civil War in 1862, based on his brief experiences with soldiers stationed at Camp Cameron in 1861.

Bierstadt's painting was based on a stereoscopic photograph taken by his brother Edward Bierstadt, who operated a photography studio at Langley's Tavern in Virginia. Bierstadt's 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 observes that Bierstadt's 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 1860, he was elected a member of the National Academy; he received medals in Austria, Bavaria, Belgium, and Germany.[ In 1867 he 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.

As a result of the publicity generated by his Yosemite paintings, 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 technical proficiency, earned through his study of European landscape, was crucial to his success as a painter of the American West. It accounted for his popularity in disseminating views of the Rockies to those who had not seen them. The immense canvases he produced after his trips with Lander and Ludlow established him as the preeminent painter of the western American landscape. Financial recognition confirmed his status: The Rocky Mountains, Lander's Peak, completed in 1863, was purchased for $25,000 in 1865.

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. 

In 1882 Bierstadt's studio at Irvington, New York, was destroyed by fire, resulting in the loss of 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 his work was renewed in the 1960s, with the exhibition of his small oil studies. The subsequent reassessment of Bierstadt's work has placed it in a favorable context.

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. Many of these are held by museums across the United States.

PIZ BERNINA PAINTED BY ALBERT BIERSTADT

ALBERT BIERSTADT (1830-1902)

Piz Bernina (4, 049m- 13, 283ft) 

Switzerland - Italy border 

In  Piz Bernina, Switzerland, 1880-90, oil on paper mounted on masonite, 

Museum of Fine Arts, Boston 

The mountain 

Piz Bernina or Pizzo Bernina (4, 049m- 13, 283ft)  is the highest mountain in the Eastern Alps, the highest point of the Bernina Range, and the highest peak in the Rhaetian Alps. It is located south of Pontresina and near the major Alpine resort of St. Moritz, in the Engadin valley with the massif partially in Italy.  The mountain can be seen from different viewpoints with the use of ski-lifts from Diavolezza, Piz Corvatsch or Piz Nair. It is also the most easterly mountain higher than 4,000 m (13,000 ft) in the Alps, the highest point of the Swiss canton of Graubünden, and the fifth-most prominent peak in the Alps. The minor summit (4,020 m -13,190 ft) known as La Spedla is the highest point in the Italian Lombardy region. The mountain was named after the Bernina Pass in 1850 by Johann Coaz, who also made the first ascent.  The prefix Piz comes from the Romansch language in Graubünden; any mountain with that name can be readily identified as being located in southeastern Switzerland.

The first ascent was made via the east ridge in 1850 by the 28-year-old topographer Johann Wilhelm Coaz (1822-1918) and his assistants, the brothers Jon and Lorenz Ragut Tscharner. 

In 1866, the south ridge running from La Spedla was climbed by Francis Fox Tuckett and F. A. Y. Brown with guides Christian Almer and F. Andermatten.
The first attempt to climb the northern ridge, the Biancograt, was partially made on 12 August 1876 by Henri Cordier and Thomas Middlemore with guides Johann Jaun and Kaspar Maurer.
On august 1878,  Paul Güssfeldt, accompanied by the guides H. Grass and J. Gross, reached the summit via the Biancograt and accomplished the first complete ascent on this route.
On 15 March 1929, the first winter ascent was made by C. Colmus with guides C. and U. Grass.
Climbing
The normal route starts from the Rifugio Marco e Rosa (3,600 m -11,800 ft) above the Fuorcla Crast'Agüzza, and follows the route taken by the first ascentionists. The north ridge, called the Biancograt or Crast Alva (both meaning White Ridge), is the most well-known and attractive route to the summit, and is much more difficult than the normal route. The route starts from the Tschierva Hut (2,584 m -8,478 ft) in Val Roseg, accessible from Pontresina. The Biancograt itself starts at the Fuorcla Prievlusa (3,430 m -11,250 ft)) and leads to Piz Bianco (3,995 m -13,107 ft). To reach the summit, the Bernina gap – which repulsed Cordier, Middlemore, Jaun and Maurer in 1876 – has to be traversed.
Sources: 
- Dictionnaire historique de la Suisse

The painter 
Albert Bierstadt was a German-born American painter. He 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. At an early age Bierstadt developed a taste for art and made clever crayon sketches in his youth.
In 1851, he began to paint in oils. He became part of the Hudson River School in New York, an informal group of like-minded painters who started painting along this scenic 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.
- More about Albert Bierstadt