Tag Archives: Fine Art Friday

#FineArtFriday: Peter Purves Smith: New York, 1936, and Rickett’s Point, 1937

Usually, in literature, surrealism is shown through the thought processes of the characters rather than in alterations of the environment. On the surface, you believe what they say they think, but their perception of the world is skewed toward a hallucinogenic feel.

In art, the surface, the visual layer is what it is all about. Everything is displayed for you to view and interpret as you will.

Sometimes surrealism asks you to think deeper. Other times, surrealism says “enjoy the moment.” In “New York” Peter Purves Smith asks you to think deeper about our mania for building densely and tall. Skyscrapers grow like weeds, springing from the earth like dandelions in the lawn. What other concepts does he ask us to consider?

Progress and impermanence. Beauty versus utilitarian requirements. He asks us to think deeply.

In Ricketts Point, he asks you to just enjoy a sunny day at the beach.


Credits and Attributions

Wikimedia Commons contributors, “File:Peter Purves Smith – New York, 1936.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Peter_Purves_Smith_-_New_York,_1936.jpg&oldid=149235926 (accessed July 4, 2019).

Wikimedia Commons contributors, “File:Peter Purves Smith – Ricketts Point, 1937.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Peter_Purves_Smith_-_Ricketts_Point,_1937.jpg&oldid=296570789 (accessed July 4, 2019).

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#FineArtFriday: Summer Landscape with Harvesting Farmers, by Fredrik Marinus Kruseman 1850


Author: Fredrik Marinus Kruseman  (1816–1882)

Title: Summer Landscape with Harvesting Farmers

Date:1850

Medium: oil on panel

Dimensions: Height: 28.5 cm (11.2 ″); Width: 38.1 cm (15 ″)

Collection: Art Renewal Center

About the Artist, via Wikipedia

Fredrik Marinus Kruseman was born as the fourth son of Philip Benjamin Kruseman (1781-1842) and Jacoba Magero. He received his first drawing lessons from Jan Reekers (1790-1858) and visited the City Tekenschool in Haarlem in 1832-1833. In 1833, Kruseman received painting lessons from Nicolaas Johannes Roosen Boom (1805-1880) and in 1835 he moved to the Gooi where He further qualified with Jan van Ravenswaay (1789-1869). He also followed education at the romantic landscape painter Barend Cornelis Kaf.

Fredrik Marinus Kruseman is best known for his romantic landscapes. In his entire oeuvre, which is estimated on 300-350 paintings, only 3 still lifes are known. The rest consists of landscapes.

 


Credits and Attributions:

Summer Landscape with Harvesting Farmers, by Fredrik Marinus Kruseman 1850 [Public domain] via Wikimedia Commons

Wikimedia Commons contributors, “File:Kruseman Fredrik Marinus Summer Landscape with Harvesting Farmers 1850 Oil On Panel.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Kruseman_Fredrik_Marinus_Summer_Landscape_with_Harvesting_Farmers_1850_Oil_On_Panel.jpg&oldid=266178001 (accessed June 21, 2019).

Fredrik Marinus Kruseman, via Wikipedia The Free Encyclopedia, https://www.translatetheweb.com/?from=&to=en&ref=SERP&dl=en&rr=UC&a=https%3a%2f%2fnl.wikipedia.org%2fwiki%2fFredrik_Marinus_Kruseman accessed 20 June 2019.

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#FineArtFriday: Upon Sunny Waves, by Hans Dahl

Hans Dahl (19 February 1849 – 27 July 1937) was a Norwegian painter.

Trained in Germany, Hans Dahl is associated with the Düsseldorf school of painting, which was characterized by finely detailed imaginary landscapes. Despite later mean-spirited criticisms by other artists and art critics, Dahl remained true to his idealized fantasy art, resisting the movement from Romanticism to Modernism.

What I love about this painting:

Dahl captures the bold freedom of sailing on a sunny summer day. He captures the sense of flying on the water that makes sailing a small boat so much fun.

We aren’t on a leisurely fishing expedition here—this is boating for the sake of adventure. We’re running with wind and enjoying every minute of it.

About the Artist, via Wikipedia:

In the 1890s a new school of art arose, and artists like Dahl were not very popular in the leading circles in the capital. He was particularly criticized by the art historian Jens Thiis. He was severely criticized by fellow artists especially by Christian Krohg, who was one of the leading figures in the transition from romanticism to naturalism which characterized Norwegian art in this period. Throughout his life, he increasingly narrowed his range of topics. Dahl often described the scenery of the western part of Norway in brilliant sunshine with smiling people in national costumes. His vibrant colors and charming portrayals of young Norwegian girls in their national costume have always been very popular.


Credits and Attributions:

Wikipedia contributors, “Hans Dahl,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Hans_Dahl&oldid=827399492 (accessed June 13, 2019).

Upon Sunny Waves, by Hans Dahl PD|70 [Public domain]

Wikimedia Commons contributors, “File:Hans Dahl – Upon sunny waves.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Hans_Dahl_-_Upon_sunny_waves.jpg&oldid=140877929 (accessed June 13, 2019).

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#FineArtFriday: A View of a Lake in the Mountains by George Caleb Bingham

 

  • Title: A View of a Lake in the Mountains
  • Artist: George Caleb Bingham
  • Medium: Oil on canvas
  • Date: between circa 1856 and circa 1859
  • Dimensions: Height: 53.9 cm (21.2 ″); Width: 76.5 cm (30.1 ″)
  • Current Location: Los Angeles County Museum of Art

What I love about this picture:

This scene depicts an hour of utter serenity in the turbulent life of the artist. The late afternoon sunlight falls gently on the rocky path above the calm waters. Shadows fall in all the right places but don’t darken the moment.  There is a dreamlike quality to the day, as if the artist painted his deepest wish. This is a pleasant, restful painting.

About the Artist, via Wikipedia:

George Caleb Bingham (March 20, 1811 – July 7, 1879) was an American artist, soldier and politician known in his lifetime as “the Missouri Artist”. Initially a Whig, he was elected as a delegate to the Missouri legislature before the American Civil War where he fought the extension of slavery westward. During that war, although born in Virginia, Bingham was dedicated to the Union cause and became captain of a volunteer company which helped keep the state from joining the Confederacy, and then served four years as Missouri’s Treasurer. During his final years, Bingham held several offices in Kansas City, as well as became Missouri’s as Adjutant General. His paintings of American frontier life along the Missouri River exemplify the Luminist style.

Bingham ran for election as a Whig to the Missouri House of Representatives the following year. He appeared to have won in 1846 by 3 votes but lost in a recount. In a reprise of the election in 1848, Bingham won the seat by a decisive margin, becoming one of the few artists to serve in elected political office. He actively opposed the pro-slavery “Jackson resolutions” in 1849, although their proponent was also a resident of Saline County. He would also represent Missouri’s eighth district at the Whig National Convention in June 1852. Bingham’s political interests would be reflected in his vivid paintings of frontier political life.

About the Luminist style, via Wikipedia:

Luminism is an American landscape painting style of the 1850s to 1870s, characterized by effects of light in landscape, through the use of aerial perspective and the concealment of visible brushstrokes. Luminist landscapes emphasize tranquility, and often depict calm, reflective water and a soft, hazy sky.

As defined by art historian Barbara Novak, luminist artworks tend to stress the horizontal, and demonstrate the artist’s close control of structure, tone, and light. The light is generally cool, hard, and non-diffuse; “soft, atmospheric, painterly light is not luminist light”. Brushstrokes are concealed in such a way that the painter’s personality is minimized. Luminist paintings tend not to be large so as to maintain a sense of timeless intimacy. The picture surface or plane is emphasized in a manner sometimes seen in primitivism. These qualities are present in different amounts depending on the artist, and within a work.

Luminism has also been considered to represent a contemplative perception of nature.

Novak states that luminism, of all American art, is most closely associated with transcendentalism. The definitional difficulties have contributed to over-use of the term.[5]

The artists who painted in this style did not refer to their own work as “luminism”, nor did they articulate any common aesthetic philosophy outside of the guiding principles of the Hudson River School.


Credits and Attributions:

A View of a Lake in the Mountains by George Caleb Bingham, via Wikimedia Commons.  Los Angeles County Museum of Art [Public domain].

Wikipedia contributors, “George Caleb Bingham,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=George_Caleb_Bingham&oldid=900386053 (accessed June 6, 2019).

Wikipedia contributors, “Luminism (American art style),” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Luminism_(American_art_style)&oldid=886912140 (accessed June 6, 2019).

 

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#FineArtFriday: Vincent van Gogh Painting Sunflowers by Paul Gauguin 1888

Title: Van Gogh Painting Sunflowers

Artist: Paul Gauguin

Genre: portrait

Date: 1888

Medium: oil on jute

Dimensions: Height: 73 cm (28.7 ″); Width: 91 cm (35.8 ″)

About this Painting, via Wikipedia:

The portrait was painted when Gauguin visited Van Gogh in Arles, France. Vincent had pleaded with Gauguin to come to Arles to start an art-colony. Gauguin eventually agreed after funding for the transportation and expenses was provided by Vincent’s brother Theo Van Gogh; however Gauguin only stayed for two months as the two often quarreled and the famous incident where Van Gogh severed his left ear with a razor occurred after an argument with Gauguin.

Van Gogh’s first impression on seeing the painting was that Gauguin had depicted him as a madman. He later softened his view. “My face has lit up after all a lot since, but it was indeed me, extremely tired and charged with electricity as I was then.”

About the Artist, via Wikipedia:

Eugène Henri Paul Gauguin (UK: /ˈɡoʊɡæ̃/, US: /ɡoʊˈɡæ̃/; French: [øʒɛn ɑ̃ʁi pɔl ɡoɡɛ̃]; 7 June 1848 – 8 May 1903) was a French post-Impressionist artist. Unappreciated until after his death, Gauguin is now recognized for his experimental use of color and Synthetist style that were distinctly different from Impressionism. Toward the end of his life, he spent ten years in French Polynesia, and most of his paintings from this time depict people or landscapes from that region.

Gauguin’s relationship with Vincent proved fraught. In 1888, at (van Gogh’s brother)Theo’s instigation, Gauguin and Vincent spent nine weeks painting together at Vincent’s Yellow House in Arles. Their relationship deteriorated and eventually Gauguin decided to leave. On the evening of 23 December 1888 according to a much later account of Gauguin’s, van Gogh confronted Gauguin with a razor blade. Later the same evening, van Gogh cut off his own left ear. He wrapped the severed tissue in newspaper and handed it to a woman who worked at a brothel both Gauguin and van Gogh had visited, and asked her to “keep this object carefully, in remembrance of me”. Van Gogh was hospitalized the following day and Gauguin left Arles.


Credits and Attributions:

Vincent van Gogh Painting Sunflowers by Paul Gauguin 1888 [Public domain]

Wikipedia contributors, “Paul Gauguin,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Paul_Gauguin&oldid=899278654 (accessed May 31, 201 Wikipedia contributors, “The Painter of Sunflowers,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=The_Painter_of_Sunflowers&oldid=853391418 (accessed May 31, 2019). 9).

Wikimedia Commons contributors, “File:Paul Gauguin – Vincent van Gogh painting sunflowers – Google Art Project.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Paul_Gauguin_-_Vincent_van_Gogh_painting_sunflowers_-_Google_Art_Project.jpg&oldid=321446852 (accessed May 31, 2019).

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#FineArtFriday: Ruins of the Oybin (Dreamer) – Caspar David Friedrich 1835


What I like about this image:

This is a mystical, fairy tale place, painted by a man who believed in fairy tales. As was his habit, he took the image of a place  he knew, Oybin Castle, and turned it into a world apart. This is a thing genre authors regularly do – like fantasy painters we take what we know and reshape  it into something wonderful.

This particular view didn’t exist in this exact form, ever. But it did in his mind, and he painted it, placing himself in the middle of it. The smallest details of the perfect trees combined with the broad red coloration of the walls and the dusk-red of the sky to create the image of a moment he wished for, an hour of serenity.

Sunset, the hour of twilight, is a powerful moment, a time of transition between the worlds. We move from the world of daylight to the world of darkness. The same moment of spiritual power occurs at dawn. Fantasy painters are like authors, capable building a fantasy world in one image.

Friedrich found his happy place in the fantasy worlds he painted.

About the Artist, via Wikipedia:

Caspar David Friedrich (5 September 1774 – 7 May 1840) was a 19th-century German Romantic landscape painter, generally considered the most important German artist of his generation. He is best known for his mid-period allegorical landscapes which typically feature contemplative figures silhouetted against night skies, morning mists, barren trees or Gothic ruins. His primary interest was the contemplation of nature, and his often symbolic and anti-classical work seeks to convey a subjective, emotional response to the natural world. Friedrich’s paintings characteristically set a human presence in diminished perspective amid expansive landscapes, reducing the figures to a scale that, according to the art historian Christopher John Murray, directs “the viewer’s gaze towards their metaphysical dimension.”

Artist: Caspar David Friedrich  (1774–1840)

Title:  German: Klosterruine Oybin (Der Träumer)

             English: Ruins of the Oybin (Dreamer)

Genre:  landscape art

Date:  circa 1835

Medium:  oil, on canvas

Dimensions:  Height: 27 cm (10.6 ″); Width: 21 cm (8.2 ″)

Collection: Hermitage Museum


Credits and Attributions

Ruins of the Oybin (Dreamer) – Caspar David Friedrich 1835 [Public domain]

Wikimedia Commons contributors, “File:Caspar David Friedrich 011.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Caspar_David_Friedrich_011.jpg&oldid=326731449 (accessed May 24, 2019).

Wikipedia contributors, “Caspar David Friedrich,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Caspar_David_Friedrich&oldid=897812018 (accessed May 24, 2019).

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#FineArtFriday: View from the Artist’s Window, Martinus Rørbye

What I like about this painting:

View from the Artist’s Window was painted just at the time when the young Rørbye was gaining recognition as an artist, around the year 1825. The room is pleasant, homey, and the pink hydrangeas are beautiful. The transparency of the curtain is masterfully done.

The shipyard is represented as looming below and in the distance, a dominant view in the artist’s life.

The visual allegory of the caged bird floating out of the open window is wonderful, representing the young artist poised on the edge of leaving home, daring to imagine the wide, unknown world that waits for him.

The possibility of adventure is represented by the view of the working shipyard and the ship berthed in the harbor below.

About the artist, via Wikipedia:

Martinus Christian Wesseltoft Rørbye (17 May 1803 – 29 August 1848) was a Danish painter, known both for genre works and landscapes. He was a central figure of the Golden Age of Danish painting during the first half of the 19th century.

The most traveled of the Danish Golden Age painters, he traveled to Norway and Sweden and south to Italy, Greece and Constantinople.

He is remembered for his genre paintings, his landscapes and his architectural paintings, as well as for the many sketches he made during his numerous travels. He painted numerous scenes of life in Copenhagen, as well as large compositions showing Italian and Turkish landscapes and scenes of folk life. He painted few portraits.

He was one of the most traveled of the Golden Age painters and distinguished his artistic production by his interpretations of lands rarely explored at that time for their artistic motifs, as well as for his anecdotal genre paintings depicting the Copenhagen of his day.

Title: View from the Artist’s Window, Martinus Rørbye [Public domain]

  • Genre: landscape art
  • Date: About 1825
  • Medium: oil on canvas
  • Dimensions: Height: 380 mm (14.96 ″); Width: 298 mm (11.73 ″)

Credits and Attributions:

Wikimedia Commons contributors, “File:Martinus Rørbye – View from the Artist’s Window – Google Art Project.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Martinus_R%C3%B8rbye_-_View_from_the_Artist%27s_Window_-_Google_Art_Project.jpg&oldid=326761582 (accessed May 17, 2019).

Wikipedia contributors, “Martinus Rørbye,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Martinus_R%C3%B8rbye&oldid=895614706

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FineArtFriday: The Man With the Golden Helmet, Circle of Rembrandt

About this image, via Wikipedia:

The Man with the Golden Helmet (c. 1650) is an oil on canvas painting formerly attributed to the Dutch painter Rembrandt and today considered to be a work by someone in his circle.

Categorized as a work by Rembrandt for many years, doubts were expressed as to its provenance in 1984 by a Dutch curators’ commission specifically created to investigate Rembrandt works of questionable authenticity. They made their remarks whilst viewing the painting in West Berlin.

In November 1985, Berlin-based art expert Jan Kelch announced that important details in the painting’s style did not match the style of Rembrandt’s known works, and that the painting was probably painted in 1650 by one of Rembrandt’s students.

What I like about this painting:

This is a  wonderful portrait with a great mystery attached. It’s a classic example of a work by a student being good enough to be mistaken for the mentor’s work. Whichever of Rembrandt’s student did paint this man’s portrait, they were clearly on their way to great things in the art world. So far, the artist has not been identified, and most of Rembrandt’s students left large catalogs of work, all of which could be compared to it.

However, Rembrandt had many students, including his son, Titus.

Titus died very young but was known to be painting at the time this portrait is attributed to. He was nine, old enough to be apprenticed. Could this have been one of his lessons? Could the confusion have arisen because a father was teaching his young son the art of portrait painting? No works with his signature survive that I know of, although I admit I am not an art historian. Regardless, much is like Rembrandt, enough to confuse the issue.

Just a Rembrandt fangirl, fantasizing.

A partial list of Rembrandt’s students can be found here Rembrandt’s Students.


Credits and Attributions:

Wikimedia Commons contributors, “File:Mann mit dem Goldhelm.jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Mann_mit_dem_Goldhelm.jpg&oldid=318048571(accessed May 10, 2019).

Wikipedia contributors, “The Man with the Golden Helmet,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=The_Man_with_the_Golden_Helmet&oldid=880858243 (accessed May 10, 2019).

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#FineArtFriday: Self-portrait by Albrecht Dürer 1500

About this painting, via Wikipedia:

Dürer chooses to present himself monumentally, in a style that unmistakably recalls depictions of Christ—the implications of which have been debated among art critics. A conservative interpretation suggests that he is responding to the tradition of the Imitation of Christ. A more controversial view reads the painting is a proclamation of the artist’s supreme role as creator.

The inscription reads, I, Albrecht Dürer of Nuremberg portrayed myself in appropriate [or everlasting] colors aged twenty-eight years.

What I like about this painting:

I like how dark and precise this portrait is compared to his earlier self-portraits. Dürer’s eyes are compelling. They tell us he is a complicated man with many secrets. The year 1500 was significant to him, as it was the turn of the millennium and his studio was enjoying great success as a print maker. Dürer traveled often and had spent a great deal of time in Italy where he made the acquaintance of Leonardo da Vinci. It is clear he was highly influenced by da Vinci’s work, as were most artists of the day.

I’m intrigued by the way he has chosen to depict himself in a pose that was traditionally that of Christ as Savior Mundi (Savior of the World). His hair, in this painting, is portrayed as dark brown but was actually a lighter red. He shows it as parted down the middle, very like da Vinci’s Salvator Mundi.

He raises his hand toward his heart, as if blessing us, the viewers. The position of the fingers is symbolic; some would say it is a Templar/Masonic gesture for the letter M, signifying Mary. If you try to hold your hand that position, you discover it is impossible to do so in a relaxed, natural way. The fingers must be purposefully held that way and it isn’t really comfortable.  Others would say hands are difficult to paint, and were frequently copied from famous paintings; still other will say certain gestures showed social status. It was the Renaissance and art was a way to express one’s rebellion through symbolism and allegory. Therefore, we know the gesture has meaning.

His signature is also clever: 1500 Anno Domini or 1500 Albrecht Dürer.

About the Artist, via Wikipedia:

Albrecht Dürer (21 May 1471 – 6 April 1528) sometimes spelt in English as Durer or Duerer, without umlaut, was a painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was still in his twenties due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, and from 1512 he was patronized by Emperor Maximilian I. Dürer is commemorated by both the Lutheran and Episcopal Churches.

Dürer’s vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits and self-portraits, watercolors and books. The woodcuts, such as the Apocalypse series (1498), are more Gothic than the rest of his work. His well-known engravings include the Knight, Death and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolors also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium.

Dürer’s introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective, and ideal proportions.


  • Title:  Albrecht Dürer: Self-Portrait
  • Artist: Albrecht Dürer  (1471–1528)
  • Genre: self-portrait
  • Date: 1500
  • Medium: oil on lime
  • Dimensions: Height: 67.1 cm (26.4 ″); Width: 48.9 cm (19.2 ″)
  • Collection:  Alte Pinakothek
  • Current location: 1st floor room IX Alte Pinakothek, Raum IX

Credits and Attributions:

Self-portrait, 1500 by Albrecht Dürer [Public domain] Wikimedia Commons contributors, “File:Albrecht Dürer – 1500 self-portrait (High resolution and detail).jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Albrecht_D%C3%BCrer_-_1500_self-portrait_(High_resolution_and_detail).jpg&oldid=292769964 (accessed May 2, 2019).

Wikipedia contributors, “Albrecht Dürer,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Albrecht_D%C3%BCrer&oldid=894882291 (accessed May 3, 2019).

 

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#FineArtFriday: Puget Sound on the Pacific Coast by Albert Bierstadt 1870

What I love about this painting:

I live on Puget sound, and while the exact beach this image depicts likely does not exist, the cliffs are pretty accurate. I have seen many, many places here like it. The waters of the sound can get quite rough during storms, as this video shot by a storm chaser in December shows: Wild Ferry Ride Across Puget Sound Dec. 16 2018.

Anyone who lives here will tell you, the view of the Olympic Mountains from over the sound is unparalleled.

At certain times of the year, rain sweeps in like a dark beast. I have often seen the sky as black and heavy as it is depicted in this painting. Shafts of sun between heavy rain squalls are frequent companions here. When the sun shines through the heavy clouds, the light looks very much the way he shows it.

A sky that looks like the one in this painting heralds a serious storm. If you are driving anywhere during this kind of weather, you are in for a slow, miserable trip.

Quote from http://www.SeattleArtMuseum.org, regarding Puget Sound on the Pacific Coast, 1870, which is now in their possession.

 “Bierstadt had likely not yet traveled to the Washington Territory in 1870. The painting was possibly a commission from a New York shipping magnate who had made his enormous fortune on the Pacific coast. Enterprising artist that he was, Bierstadt did not shy away from the challenge of painting a place he had not yet seen.”

I love that Bierstadt was a story teller as much as an entrepreneur in regard to his art. All the great artists were.

It has been suggested he put this picture together by piecing together places he had visited on the Lower Columbia River. Indeed, the trees and landscape there is much like that of Puget Sound, so it is possible. However, it would have been easy for him to have traveled north to the sound if he was on the  Lower Columbia—a matter of only eighty miles, so a week of travel for him by horse.

He was a man who traveled all over the west and painted what he felt as much as what he saw.

Wikipedia has this to say about Albert Bierstadt:

In 1867, Bierstadt traveled to London, where he exhibited two landscape paintings in a private reception with Queen Victoria. He traveled through Europe for two years, cultivating social and business contacts to sustain the market for his work overseas. His exhibition pieces were brilliant images, which glorified the American West as a land of promise and “fueled European emigration.” He painted Among the Sierra Nevada, California in his Rome studio, for example, showed it in Berlin and London before shipping it to the U.S. As a result of the publicity generated by his Yosemite Valley paintings in 1868, Bierstadt’s presence was requested by every explorer considering a westward expedition, and he was commissioned by the Atchison, Topeka, and Santa Fe Railroad to visit the Grand Canyon for further subject matter.

Bierstadt’s choice of grandiose subjects was matched by his entrepreneurial flair. His exhibitions of individual works were accompanied by promotion, ticket sales, and, in the words of one critic, a “vast machinery of advertisement and puffery.”

Bierstadt was highly successful in his day, which the more refined critics despised. Everything the critics mocked about his work are the aspects I love. The high contrasts of light and shadow, sweeping epic themes, and overblown romanticism—those are what I love about all his work.

In all his works, Bierstadt created an emotional landscape as much as a physical one.

Puget Sound on the Pacific Coast by Albert Bierstadt

  • Genre: landscape art
  • Date: 1870
  • Medium: oil on canvas
  • Dimensions: Height: 52.5 ″ (133.3 cm); Width: 82 ″ (208.2 cm)
  • Collection: Seattle Art Museum
  • Current location: Seattle Art Museum Downtown, Gallery Level 3, American Art

Credits and Attributions:

Puget Sound on the Pacific Coast, by Albert Bierstadt, signed and dated 1870 [Public domain]

Wikimedia Commons contributors, “File:Albert Bierstadt – Puget Sound on the Pacific Coast (1870).jpg,” Wikimedia Commons, the free media repository, https://commons.wikimedia.org/w/index.php?title=File:Albert_Bierstadt_-_Puget_Sound_on_the_Pacific_Coast_(1870).jpg&oldid=344396079 (accessed April 26, 2019).

Quote from the article: Puget Sound on the Pacific Coast, Seattle Art Museum website contributors, (accessed April 25, 2019).

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