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Dec 5, 2021
Signed with Artist's initialed monogram 'AB' bottom right, oil on paper laid down to canvas
13 1/4 x 9 1/4 in. (33.7 x 23.5cm)
Executed circa 1859.
Provenance
Collection of Amy C. Liss, Summit, New Jersey.
Literature
Katherine Manthorne and Tricia Laughlin Bloom, The Rockies and the Alps: Bierstadt, Calame and the Romance of the Mountains, Newark Museum, New Hersey; in association with G. Giles Ltd., London, 2018, p. 14, cat. 1 (illustrated).
Note
German born artist Albert Bierstadt moved at a very young age to the United States with his family, settling in Massachusetts, but returned to his homeland in 1853 to study and paint the Alpine mountains and landscape. After returning to America in 1857, he made his mark at the 1858 spring exhibition of the National Academy of Design, where he showed a large-size painting of Lake Lucerne and the Alps in the background. A year later he traveled out West joining Frederick W. Lander’s survey party of the Rocky Mountains, from where he returned with a trunkful of sketches, photographs, and Native American artifacts. Estes Park Morning, Colorado reveals the extent to which Bierstadt, on his first trip, was still very much conditioned by the European aesthetic and mountainous landscape that had been an important part of his training back in Düsseldorf. The painting adopts a formula which already proved successful: a dark, shady foreground contrasted with a light, golden background of snow-capped mountains and a stormy sky, dramatically separated by a middle ground of water, which captures all the glistening effects of the sun shower. A diagonally-bent repoussoir tree at bottom right connects the three successive layers, and invites the viewer to slowly penetrate the picture plane and gape in awe at the spectacular vision.
Frame:
The relined canvas in overall good condition. The painting has been cleaned and presents well. With faint craquelure at bottom center. Examination under UV light reveals scattered retouching. For example: along bottom outer edge and at center of top outer edge. We also see spots of retouching in the sky at upper left, upper center and upper right. With faint lines of inpainting too in these areas (suggesting some old craquelure carefully inpainted). Minor dots on the mountain at center left, as well as in the water and around the trees at center (all minor and small, which suggest local retouching possibly corresponding to old losses).
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