I believe the deer is to be understood as a victim of the hunting party around the fire. (250.5 x 401.6 x 18.4 cm, 129.73kg).

When it was finally ready, he unveiled it with his usual showmanship, selling tickets to a theatrical style unveiling. Oil on canvas, frame: 98 5/8 x 158 1/8 x 7 1/4 in., 286 lb. The full text of the article is here →, {{$parent.$parent.validationModel['duplicate']}}, Private Collection, Fogg Museum (Harvard Art Museums), Cambridge, MA, US, en.wikipedia.org/wiki/The_Rocky_Mountains,_Lander's_Peak, 1-{{getCurrentCount()}} out of {{getTotalCount()}}, https://en.wikipedia.org/wiki/The_Rocky_Mountains,_Lander's_Peak, On the Sweetwater Near the Devil's Gate, Nebraska. Rosalie, 1866. According to a review in Harper's Weekly from March 26, 1864, Lander's Peak, "is purely an American scene, and from the faithful and elaborate delineation of the Indian village, a form of life now rapidly disappearing from the earth, may be called a historic landscape." William Newton Byers, who traveled with Bierstadt on this expedition out West in 1863, wrote of Bierstadt: "Mr. Bierstadt was in raptures with the scenery, but restrained his inclination to try his pencils until within two or three miles of the upper limit of tree growth...Patience vanished, and in nervous haste, canvas, paints and brushes were unpacked and a couple of hours saw, under his skillful hands, some miles of mountain, hills, forests and valley".

Albert Bierstadt, Storm in the Rocky Mountains, Mount Rosalie, 1866 The painting below follows the Yosemite Fall from the top of the mountain to the base. The image was transformed to canvas from studies of the area that had been made in 1863. It is an invented view that combines several different real topographic features that Bierstadt sketched during his 1863 travels in the American west. This iconic landscape painting was created entirely from memory, as Bierstadt had been to the area seven years previously. What the observer is part of, is that of a snapshot in time, a photograph, as if they themselves had stood and taken it. Bierstadt was greatly impressed by the landscape he encountered, and described the Rocky Mountains as "the best material for the artist in the world." This painting was even recently conserved on view to the public and I got to see the back of the canvas with my own eyes!

At the forefront of the painting, Bierstadt paints a band of Shoshone Native peoples. Albert Bierstadt was part of the Hudson River School, which was an informal group of painters with similar ideas and styles, such as painting with detail, and romantic, glowing illumination. Bierstadt illustrated Shoshone people along with the majestic peaks as a marker of the "sublime" which authors like James Fenimore Cooper, John C. Frémont, and Washington Irving wrote about. Bierstadt’s display for profit of theatrically lit large canvases like this one was a forerunner of today’s movies. As Ludlow grew more addicted to cannabis and other substances, Rosalie became Bierstadt's mistress.

© www.AlbertBierstadt.net 2019. Rosalie. The painting was relatively well received, although one critic called it "large and showy". There is so much attention to detail. It's more of a composite, made with artistic license. This painting also shows how Bierstadt was a master of luminism, using the light in this picture to dramatic effect, creating an eerie, almost spiritual atmosphere.

He was definitely working for eastern audiences -- and this was their "introduction" to places they hadn't been yet. Loggy and Alex’s friendship in Miami’s redeveloping Liberty Square is threatened when Loggy learns that Alex is being relocated to another community.

In one description of the painting, "Sharply pointed granite peaks and fantastically illuminated clouds float above a tranquil, wooded genre scene." All Rights Reserved. Pratt Fund, Frederick Loeser Fund, Augustus Graham School of Design Fund, Museum Collection Fund, Special Subscription, and John B. Woodward Memorial Fund; Purchased with funds given by Daniel M. Kelly and Charles Simon; Bequest of Mrs. William T. Brewster, Gift of Mrs. W. Woodward Phelps in memory of her mother and father, Ella M. and John C. Southwick, Gift of Seymour Barnard, Bequest of Laura L. Barnes, Gift of J.A.H. Not every record you will find here is complete.

Is it a warning against Manifest Destiny? Bierstadt plays with the light upon the waterfalls which run down the rocks.

Brooklyn Museum, Dick S. Ramsay Fund, Healy Purchase Fund B, Frank L. Babbott Fund, A. Augustus Healy Fund, Ella C. Woodward Memorial Fund, Carll H. de Silver Fund, Charles Stewart Smith Memorial Fund, Caroline A.L.

This iconic landscape painting was created entirely from memory, as Bierstadt had been to the area seven years previously. As far as I know, he travelled West three times.

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