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
View of Wetterhorn from the Valley of Grindelwald

ID: 96978

Albert Bierstadt View of Wetterhorn from the Valley of Grindelwald
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Albert Bierstadt View of Wetterhorn from the Valley of Grindelwald


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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, Mt Rosalie | The last Mossback | Minnehaha Falls | Four Indians | Sierra Nevada Morning |
Related Artists:
Jacob van Schuppen
Born in Fontainebleau, France, as the son of the painter-engraver Pieter van Schuppen, he worked in the Netherlands before moving to Vienna. He was taught to paint by his father and his uncle Nicolas de Largilliere. In 1719 he was registered in Luneville, but he moved in the same year to Vienna where he became court painter. In 1725 he was appointed director of the Academy of Fine Arts Vienna, when it was refounded by Emperor Charles VI as the k.k. Hofakademie der Maler, Bildhauer und Baukunst (Imperial and Royal Court Academy of painters, sculptors and architecture).
alexander wetterling

SIRANI, Elisabetta
Italian Baroque Era Painter, 1638-1665 Italian painter. She was the daughter of Giovanni Andrea Sirani (1610-70), who had been Guido Reni's principal assistant. Encouraged by Carlo Malvasia, her mentor and eventual biographer, she was painting professionally by the age of 17. Her prolific talent, as well as her reputed beauty and modesty, soon brought her European renown. The details of her training are unclear, but as a woman she would not have had access to an academy and (like many other professional women painters prior to the 20th century) she was probably taught by her father. Her sisters Anna Maria (1645-1715) and Barbara (alive in 1678) were also practising artists and Elisabetta herself is known to have had female students. As women, they could not undertake any formal study of the male nude, and Sirani's weakness in depicting male anatomy is sometimes clearly detectable in her work Sirani's drawings employ a highly individual pen-and-wash method, eschewing outline and employing quick, blunt strokes of barely dilute ink to create striking chiaroscuro effects






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