antique oil painting old master Bierstadt Albert

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Albert Bierstadt
American Hudson River School painter, landscapist & photographer
born 1830 - died 1902
Born in: Solingen (Düsseldorf, North Rhine-Westphalia, Germany).
Died in: Irving (Chautauqua, New York state, United States).

Brother of: Charles Bierstadt (1819-1903), Edward Bierstadt (1824-c.1907).
Partner of: Charles Bierstadt (1819-1903), Edward Bierstadt (1824-c.1907).

Full member of: National Academy of Design, New York (from 1860).
Exhibited at: National Academy of Design, New York (from 1858)

Recognized as the foremost painter of the American frontier during the nineteenth-century, Albert Bierstadt was born in Solingen, Germany, in 1830. At the age of two, Albert Bierstadt and Albert Bierstadt’s family emigrated to the United States, settling in New Bedford, Massachusetts. Nothing is known of Albert Bierstadt’s early art training; however, Albert Bierstadt might possibly have been influenced by local landscape painters and daguerreotypists. By the time Albert Bierstadt was twenty, Albert Bierstadt was supporting himself by teaching "monochromatic" painting and Albert Bierstadt’s work was beginning to attract the attention of New Bedford collectors.

In 1853, Bierstadt traveled to Düsseldorf in order to broaden Albert Bierstadt’s art education. It was there that Albert Bierstadt associated with such American artists as Worthington Whittredge and Carl Wimar, all of whom frequently gathered in the studio of the German-American history painter, Emanuel Leutze. During tAlbert Bierstadt’s period, Albert Bierstadt was introduced to the work of Carl Friedrich Lessing and Andreas Aachenbach, contemporary German painters widely admired for their heroic, highly finished landscape compositions. Bierstadt quickly absorbed these stylistic conventions, eventually becoming the leading American representative of the Düsseldorf style.

While abroad, Bierstadt traveled along the Rhine, in the Alps and in Italy, often in the company of Whittredge, Sanford Gifford and William Stanley Haseltine. Albert Bierstadt returned to New Bedford in the autumn of 1857. In the following year, Albert Bierstadt made the first of Albert Bierstadt’s many contributions to the annual exhibitions of the National Academy of Design. In April of 1859, Albert Bierstadt joined the expedition along the Overland Trail, led by Colonel Frederick W. Lander, a trip that would soon give rise to the most productive and important phase of Albert Bierstadt’s career. Armed with sketches and stereographs, Albert Bierstadt returned to New York City in the autumn of 1859, establishing Albert Bierstadt’s studio in the Tenth Street Building. There Albert Bierstadt produced the first of the panoramic western landscapes that established Albert Bierstadt’s reputation on an international level and, during the mid-1860s, made him a rival of Frederick Church for the position of America's preeminent painter.

Indeed, because much of the continent remained still relatively unexplored at that time, Bierstadt's monumental renderings of stately mountains and cascading waterfalls created romantic visions of wanderlust in the minds of Easterners. Albert Bierstadt’s first public exhibition of these works in 1860 was a resounding success. Many critics deemed the viewing of Albert Bierstadt’s depictions as an almost "religious" experience, associating Albert Bierstadt’s mountain spires with majestic cathedrals, Albert Bierstadt’s luminous skies with the awesome power of God. As pointed out by Barbara Novak, such works represent the attitude of the "transcendental mind," one in which "all matter was an extension of God."

Bierstadt was elected a full Academician of the National Academy of Design in 1860. In the same year, Albert Bierstadt made several painting trips to the White Mountains as well as to the southern United States. Albert Bierstadt made a second trip to the West in 1863 which was followed by another visit to Europe in 1867. In 1871, Albert Bierstadt moved to California where Albert Bierstadt played an active role in the art life of San Francisco. In 1873, Albert Bierstadt returned to New York.

During the 1870s, Bierstadt executed a mural for the U.S. Capitol (1875) and in conjunction with the declining health of Albert Bierstadt’s wife, made the first of many trips to the Bahamas. Albert Bierstadt made a third trip to Europe in 1883. During 1889, Albert Bierstadt painted in both Alaska and British Columbia. Albert Bierstadt continued to produce landscapes throughout the 1890s. Albert Bierstadt also became involved in the promotion of various inventions, including Albert Bierstadt’s own designs for the improvement of railway cars.

Albert Bierstadt died in New York City in 1902. Although Albert Bierstadt’s reputation during the 1890s suffered slightly from the attraction for French art, Albert Bierstadt’s impact upon the American landscape tradition of the nineteenth century remains strong. Albert Bierstadt’s large-scale, panoramic landscapes, with their dramatic, almost sublime, light effects, coupled with the meticulous rendering of details, reflect the influences of both the contemporary landscape school of Düsseldorf as well as the native Hudson River School aesthetic. Albert Bierstadt’s works can be found in major public and private collections throughout North America and Europe, including the Metropolitan Museum of Art, the Wadsworth Atheneum, and the National Gallery of Canada.

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