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 :. | In the Sierras | Lower Yosemite Valley | Estes Park | Storm in the Rocky Mountains Mt Rosalie | Bahama_Cove |
Related Artists:MOEYAERT, Claes Cornelisz.
Dutch painter (b. 1590/91, Durgerdam, d. 1655, Durgerdam)
Dutch painter, etcher and draughtsman. He was the son of an aristocratic Catholic Amsterdam merchant and moved to the city with his family in 1605. He was the most prolific of the history painters now called the PRE-REMBRANDTISTS, whose representations of biblical and mythological narratives, as well as of more recent secular history, give particular emphasis to dramatic and psychological effects. After working initially as a draughtsman and etcher, Moeyaert soon made his name as a painter. Landscapes with animals feature prominently in both his etchings and his paintings. At first he followed the lead of Adam Elsheimer, then of fellow Pre-Rembrandtists Pieter Lastman and Jan and Jacob Pynas, eventually, in the mid-1630s,Julius Hubner
1806 Oels-1882 Loschwitz ,was a German historical painter of the Dusseldorf school. He was also known as a poet and the father of Emil Hubner, a distinguished classical scholar. Hubner was born at Oels in Silesia, studied at the Academy School in Berlin and under Schadow there and in Dusseldorf. He first attracted attention by his picture of "Ruth and Boaz" (1825). He traveled in Italy and resided for the most part at Dusseldorf until 1839. In that year he settled at Dresden, becoming a professor in the Academy of Arts in 1841 and director of the Gallery of Paintings in 1871. He obtained the great gold medal at Brussels in 1851. He died in Loschwitz. SWANEVELT, Herman van
Dutch Baroque Era Painter, ca.1600-1655
Dutch painter, draughtsman and etcher, active in France and Italy. His first signed and dated works are two views of Paris dated 1623 (Brunswick, Herzog Anton Ulrich-Mus.). He was in Rome from 1629 to 1641. His earliest dated painting there is an Old Testament Scene (1630; The Hague, Mus. Bredius; see fig.), a compositional formula that he often used, with some variations, in Rome. A flat, low foreground is closed on the left by a house and a tree; on the right is a distant hilly scene; and groups of figures are disposed horizontally. This design, derived from Cornelis van Poelenburch, is well suited to van Swanevelt's many landscapes with biblical and mythological subjects. The large tree extending beyond the frame gives a monumental touch to the composition.