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 :. | Indians Fishing | Palm Tree, Nassau by Albert Bierstadt | Lake Louise | Bridal Veil Falls | An Indian Encampment |
Related Artists:
Samuel Masse
painted Lot and his daughters. in 1710s
wyndham lewis
British painter and writer. He attended Rugby School and then studied painting at the Slade School of Art, London (1898-1901), where he earned a reputation both as a draughtsman and as a poet. His early artistic and intellectual mentors were Augustus John and Thomas Sturge Moore. From 1902 to 1908 Lewis travelled widely in Europe and studied in many of the major museums. He was one of the first British artists to be aware of, and interested in, Cubism and Expressionism, though little of his work before 1909 survives as evidence of his early development. In late 1908 Lewis settled in London and as well as painting began to publish satirical short stories that take a mechanistic view of human social behaviour, evident in the deliberately clumsy and grotesque figures in his art of the period 1909 to 1912. By 1910 he was including Cubist elements in his watercolour drawings (his preferred medium), and by 1912 he had developed his own linear vocabulary of forms, indebted to Cubist, Futurist and Expressionist forms, which gives an often ironic visual dimension to the themes of his fiction. Another important influence on his art was that of Japanese woodblock prints, as seen in the watercolour drawing later called The Vorticist (1912; Southampton, C.A.G.). By 1913 he was popularly seen as the leading British avant-garde artist.
Louis Eilshemius
1864-1941 Louis Eilshemius Gallery Born near Newark, New Jersey into a wealthy family, his earliest education was in Europe, after which he spent two years at Cornell University before his art studies began at the Art Students League of New York. He subsequently studied under Bouguereau at the Acad??mie Julian in Paris, and traveled widely in Europe, Africa and the South Seas, returning to the family brownstone in New York City where he was to live for the rest of his life. His early landscapes, which show the influence of the Barbizon school and of Corot, George Inness and Albert Pinkham Ryder, gained him little recognition from critics or from the public. Around 1910, the element of fantasy in his work became more pronounced and his technique became coarser; henceforth, he often painted on cardboard instead of canvas. As his works became more idiosyncratic, so did his behavior, and he developed an unsettling habit of visiting galleries and loudly condemning the works on display. His later, visionary works depicting moonlit landscapes populated with voluptuous nymphs caused his contemporaries particular consternation, due to their crudely rendered and often extravagantly smiling nudes. These are shown frolicking in forests or waterfalls, either alone or in groups, sometimes defying gravity by floating through the air. His paintings of New York rooftops are as lyrical as his pastoral scenes, and like them are often bounded by sinuous "frames" he painted onto his pictures. Eilshemius also wrote verse and prose, composed music, painted, philosophized and became notorious for his numerous, often vitriolic, letters-to-the-editor of various New York City publications. His lack of public acclaim led him to desperate measures: suspecting that the length of his name was responsible for his neglect, in about 1890 he began signing his paintings "Elshemus" (he reverted back to the original spelling in 1913). On letterheads and in hyperbolic, self-published flyers he would proclaim his accomplishments: "Educator, Ex-actor, Amateur All-around Doctor, Mesmerist-Prophet and Mystic, Reader of Hands and Faces, Linguist of 5 languages", as well as world-class athlete and marksman, "Spirit-Painter Supreme", and musician whose improvisations rivalled the compositions of Chopin. All of this only reinforced the impression, already suggested by the peculiar imagery in many of his paintings, that he was either mad or a charlatan. He was not without supporters, however. He was championed by Marcel Duchamp, who "discovered" Eilshemius in 1917 and invited him to exhibit with him in Paris that year. His work was generally well received by French viewers and critics; his admirers included Matisse. Duchamp subsequently helped to arrange Eilshemius's first solo exhibition in 1920, at the Soci??t?? Anonyme in New York City. The hostile critical reception to this exhibition, however, finally drove him to give up painting entirely in 1921, although there is a single known painting dated 1937. The remainder of his life was dedicated to self-promotion, and in 1931 he took to referring to himself as "Mahatma". Injured in an automobile accident in 1932, he became increasingly reclusive. His health in decline and his family fortune spent, he died in 1941. Since his death, Eilshemius's work has found a wider audience. One of the artist's few consistent patrons, Roy Neuberger, donated a large body of Eilshemius' work to the Neuberger Museum of Art located at SUNY Purchase College in New York State.