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

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Albert Bierstadt
Autumn Landscape: The Catskills

ID: 96006

Albert Bierstadt Autumn Landscape: The Catskills
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Albert Bierstadt Autumn Landscape: The Catskills


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Albert Bierstadt

German-born American Hudson River School Painter, 1830-1902 Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the D??sseldorf School in D??sseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting. Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned west again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career. Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day. His use of uncommonly large canvases was thought to be an egotistical indulgence, as his paintings would invariably dwarf those of his contemporaries when they were displayed together. The romanticism evident in his choices of subject and in his use of light was felt to be excessive by contemporary critics. His paintings emphasized atmospheric elements like fog, clouds and mist to accentuate and complement the feel of his work. Bierstadt sometimes changed details of the landscape to inspire awe. The colors he used are also not always true. He painted what he believed is the way things should be: water is ultramarine, vegetation is lush and green, etc. The shift from foreground to background was very dramatic and there was almost no middle distance Nonetheless, his paintings remain popular. He was a prolific artist, having completed over 500 (possibly as many as 4000) paintings during his lifetime, most of which have survived. Many are scattered through museums around the United States. Prints are available commercially for many. Original paintings themselves do occasionally come up for sale, at ever increasing prices.  Related Paintings of Albert Bierstadt :. | Storm in the Rocky Mountains | Looking up Yosemite Valley | Moose Hunters' Camp, Nova Scotia | The Sierras near Lake Tahoe, California | Staubbach Falls, Near Lauterbrunnen, Switzerland |
Related Artists:
GIRARDON, Francois
French Baroque Era Sculptor, 1628-1715 François Girardon was born at Troyes on March 17, 1628. He studied in Rome for an undetermined period of time between 1645 and 1650. He then studied at the Royal Academy in Paris and was admitted to the academy as a member in 1657. Much of Girardon's most important work was executed for King Louis XIV and consisted of major commissions for the palace and gardens of Versailles. One of Girardon's most famous productions is Apollo and the Nymphs of Thetis in Versailles (1666-1672), originally designed for a grotto there. This elaborate project of seven separate marble statues depicts the god Apollo surrounded by nymphs, and it exemplifies with exceptional clarity the French interpretation of the baroque style in sculpture, an interpretation that rejected the fluid, dramatic, and emotional Italian baroque in favor of a cooler, more sober approach based upon the sculpture of antiquity. The Apollo group is filled with references to Hellenistic and Roman sculpture, and while Girardon was working on the commission he made a second trip to Rome for inspiration from antique sources. The ancient world, however, had never attempted to assemble several large pieces of free-standing sculpture into one unified composition, and in solving this problem Girardon had recourse to the paintings of Nicolas Poussin, the great French baroque classicist. The classicism of the Apollo group conformed fully to the official style of the French Academy and the personal taste of Louis XIV, but the composition has many baroque elements. The vigor and variety in the movement of the figures, the rich textural contrasts, the grand scale of the project, and the dramatic use of space are all stylistic qualities that firmly link the work to the international baroque style. One of Girardon's most important works is the tomb of Cardinal Richelieu in the church of the Sorbonne, Paris (1675-1677). This monument shows the dying prelate in a semireclining position, his vestments falling in broad curves that are echoed in the draperies of the allegorical figures at the head and foot of the tomb. As originally placed in the church, the monument was freestanding so that the spectator was compelled to enter into the action of the work - a typical baroque compositional device. Girardon's most significant late work was a majestic bronze equestrian statue of Louis XIV (1683-1692) executed for the Place Vendôme in Paris and based upon the famous Roman equestrian monument of the emperor Marcus Aurelius.
royal academy
unknown artist, mid 19th century
Bernard Hall
Artist, teacher, Director of Melbourne??s National Gallery and Felton Bequest advisor English-born Australian, 1859-1935 was an English-born Australian artist. Hall was born at Liverpool, England. The son of a Liverpool broker of the same family as Captain Basil Hall, writer of books of travel, he was well educated and grew up in an atmosphere of culture. He studied painting at South Kensington, Antwerp and Munich, and worked for some to years in London. He exhibited at the Royal Academy and was one of the original members of the New English Art Club. On the death of George Frederick Folingsby in 1891 he was appointed director of the National Gallery of Victoria at Melbourne, and began his duties in March 1892. He held the position for 43 years aria many of the well-known painters of Australia were trained by him in the gallery painting school. He also acted as adviser to the trustees for purchases for the gallery and art museum, and when the munificent bequest of Alfred Felton was received his responsibilities were much increased. In 1905 he went to England to make purchases under this bequest, and although the amount then placed in his hands was comparatively small, he made better use of what was available than any subsequent adviser of his time. After his return he was expected to advise on everything submitted that might find a place in an art museum and, although he never claimed to be an expert in all these things, he supplemented his knowledge with hard reading and made cornparatively few mistakes. Hall's own paintings were usually interiors, nudes, or paintings of still life. He was often represented at the Victorian Artists' and other societies' exhibitions and held several one-man shows, but he was kept so busily employed as director and adviser, that his paintings had to be done at week ends and during vacations. In February 1934 he again went to London as adviser to the Felton trustees and died there on 14 February 1935. He was married twice in 1894 to Miss E. M. Shuter and in 1912 to Miss G. H. Thomson, who with one son by the first marriage and two sons and a daughter by the second marriage, survived him. Hall was a tall man of distinguished appearance, courteous but slightly austere in manner, with strong convictions, and little sense of compromise. He was extremely conservative in almost everything from his art to his politics.






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