Albert Bierstadt
Albert Bierstadt's Oil Paintings
Albert Bierstadt Museum
Jan 8, 1830 - Feb 18, 1902. German-American painter.

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Here are all the paintings of Dennis Miller Bunker 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
42565 Buddha and bodhisattva-s Dennis Miller Bunker Buddha and bodhisattva-s MK169 7e-8e century Painted plaster work Cave 45 Dunhuang
3119 Chrysanthemums 111 Dennis Miller Bunker Chrysanthemums 111 1888 Isabella Stewart Gardner Museum, Boston
23051 Chrysanthenums (nn02) Dennis Miller Bunker Chrysanthenums (nn02) 1888 Oil on canvas 35 7/16x47 5/8" Isabella Stewart Gardner Museum,Boston
97116 Greenhouse Dennis Miller Bunker Greenhouse 1888; Oil on cyf
97138 In the Greenhouse Dennis Miller Bunker In the Greenhouse 1888; Oil on canvas cyf
95162 Jessica Dennis Miller Bunker Jessica 1890(1890) Medium oil on canvas Dimensions 66.67 x 61.28 cm (26.2 x 24.1 in) cyf
51106 Man of Sorrows with Mary and John and Two Holy Women Dennis Miller Bunker Man of Sorrows with Mary and John and Two Holy Women 1495-1505 Oil on oak panel, 49,1 x 41,9 cm
47115 Seascape, boats, ships and warships. 09 Dennis Miller Bunker Seascape, boats, ships and warships. 09 Seascape, boats on sea, ships on sea, war on sea with warships include British, Spain, Germany, Norway and Sweden.
54482 The Pool Dennis Miller Bunker The Pool mk235 1889 Oil on canvas 45.7x61cm
23053 The Pool,Medfield (nn020 Dennis Miller Bunker The Pool,Medfield (nn020 1889 Oil on canvas 18x24" Emily L.Ainsley Fund.Courtesy Museum of Fine Arts,Boston

Dennis Miller Bunker
1861-1890 Dennis Miller Bunker Gallery The paintings of Bunker's early maturity in New York (ca. 1880-82) were often marine subjects, featuring a series of beached boats, painted on Long Island. In these he followed the standard academic practice of first painting loose, preparatory sketches (Beached, ca. 1881-2) prior to more conventionally finished exhibition pieces. The early portraits (Portrait of Walter Griffin, 1881, Portland Museum of Art) also evidence rigorous craftsmanship. While studying in Paris, Bunker's summer excursions to the countryside resulted in another series, this time of scenes of Larmor, a town in Brittany. The focus of these compositions, be it church spire (Brittany Town Morning, Larmor, 1884, Terra Foundation for American Art), cemetery cross, or a lone tree (Tree, 1884-5, private collection), was invariably that of a richly painted, dark graphic shape against a bright sky. Nevertheless, the pictures are characterized by soft atmospheric effects and tonal subtlety. No less subtle are the landscapes Bunker painted after returning to America; paintings done in South Woodstock, Connecticut (Pines Beyond the Fence, 1886, private collection) still favor dramatic value contrasts, with subjects carefully painted against a light sky, but the palette has grown lighter, the color more saturated. By 1887 Bunker completed his Portrait of Anne Page, a painting requiring much labor, but one of his most poignant works. In its restrained use of color, delicate modeling of form, and aesthetic elegance it is reminiscent of the works of Thayer and James McNeill Whistler. There soon followed the Boston commissions, portraits mostly of male sitters--still somber in tone, they are painted in a more confident manner, suggesting the influence of Sargent (Portrait of George Augustus Gardner, 1888, Museum of Fine Arts, Boston). Portrait Sketch of Eleanor Hardy Bunker, 1890. Private collection.That Bunker spent the summer of 1888 painting with Sargent is verified by personal correspondence, as well as through several pieces by the latter artist (Dennis Miller Bunker Painting at Calcot, 1888, Terra Foundation for American Art), but no paintings of the English sojourn by Bunker have survived; possibly he destroyed them in dissatisfaction. However, once back in Boston the experience came to fruition, for over the next two years Bunker produced a series of canvases which evidenced that he was one of the first American artists to fully understand and successfully practice impressionism. In the Greenhouse, ca. 1888, Chrysanthemums, 1888 (Isabella Stewart Gardner Museum), The Pool, Medfield, 1889 (Museum of Fine Arts, Boston), and Meadow Lands, 1890 (Museum of Fine Arts, Boston) all feature a rich palette, vertiginous compositions, and his unique "fish hook" shaped brush strokes. At the same time, Bunker's last figure pieces remained faithful to his academic training. Jessica, 1890 (Museum of Fine Arts, Boston), The Mirror, 1890 (Terra Foundation for American Art), and Eleanor Hardy Bunker, 1890 (Metropolitan Museum of Art) are characterized by a restricted color range and heightened elegance.
Albert Bierstadt
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