Albert Bierstadt

Home / Museum / Search ARC Museum

Albert Bierstadt

249 artworks

American painter, photographer and landscapist

Born 1830 - Died 1902

Born in Solingen (Düsseldorf, North Rhine-Westphalia, Germany)

Died in Irving (Chautauqua, New York state, United States)

  • Artworks
  • Biography
  • Relationships
  • Images of the Artist
  • Products

Sunset Over A Mountain Lake

Oil on paper mounted on canvas

35.6 x 49.5 cms | 14 x 19 1/4 ins

Private collection, ,


The Arch of Octavius


Oil on canvas

72.4 x 95.2 cms | 28 1/2 x 37 1/4 ins

The Fine Arts Museums of San Francisco, SF, United States


The Wolf River, Kansas

circa 1859

Oil on canvas

122.5 x 97.1 cms | 48 x 38 ins

Detroit Institute of Art, Detroit, United States


Moat Mountain Intervale, New Hampshire

circa 1862

Oil on canvas

48.3 x 65.7 cms | 19 x 25 3/4 ins

The Currier Gallery of Art, Manchester, United States


Sunlight and Shadow


Oil on canvas

105.4 x 90.2 cms | 41 1/4 x 35 1/2 ins

The Fine Arts Museums of San Francisco, SF, United States


The Mountain Brook


Oil on canvas

111.8 x 91.4 cms | 44 x 35 3/4 ins

Collection of Gil Michaels, ,


Cho­looke: The Yosemite Fall


Oil on canvas

87.6 x 68.9 cms | 34 1/4 x 27 ins

Timken Art Gallery, San Diego, United States


Yosemite Valley


Oil on canvas

96.5 x 152.4 cms | 37 3/4 x 60 ins

Collection of Joann and Julian Ganz, jr., ,


The Emerald Pool


Oil on canvas

194.3 x 302.3 cms | 76 1/4 x 119 ins

Chrysler Museum of Art, Norfolk, United States


Bridal Veil Falls, Yosemite

circa 1871-circa 1873

Oil on canvas

91.8 x 67 cms | 36 x 26 1/4 ins

North Carolina Museum of Art, Raleigh, United States

back to the artworks


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, he and his family emigrated to the United States, settling in New Bedford, Massachusetts. Nothing is known of his early art training; however, he might possibly have been influenced by local landscape painters anddaguerreotypists. By the time he was twenty, he was supporting himself by teaching "monochromatic" painting and his work was beginning to attract the attention of New Bedford collectors.

In 1853, Bierstadt traveled to Düsseldorf in order to broaden his art education. It was there that heassociated 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 this period, he 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. He returned to New Bedford in the autumn of 1857. In the following year, he made the first of his many contributions to the annual exhibitions of the National Academy of Design. In April of 1859, he 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 his career. Armed with sketches and stereographs, he returned to New York City in the autumn of 1859, establishing his studio in the Tenth Street Building. There he produced the first of the panoramic western landscapes that established his 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. His first public exhibition of these works in 1860 was a resounding success. Many critics deemed the viewing of his depictions as an almost "religious" experience, associating his mountain spires with majestic cathedrals, his 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, he made several painting trips to the White Mountains as well as to the southern United States. He made a second trip to the West in 1863 which was followed by another visit to Europe in 1867. In 1871, he moved to California where he played an active role in the art life of San Francisco. In 1873, he returned toNew York.

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

Albert Bierstadt died in New York City in 1902. Although his reputation during the 1890s suffered slightly from the attraction for French art, his impact upon the American landscape tradition of thenineteenth century remains strong. His 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. His 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.