View of Wimmis, Valley of the Simmental, Switzerland by Frederic Church, 1868, oil on paper mounted on canvas 32.4 x 50.5 cm
The original is only about 13 inches tall, so, depending on the size of your monitor, this detail may be about actual size.
The original is only about 13 inches tall, so, depending on the size of your monitor, this detail may be about actual size.
Susie Barstow on Wikipedia
The Albany Institute of History and Art recently opened an exhibit of plein-air drawings and watercolors called "Hudson River School Journeys: Watercolors and Drawings by William Hart and Julie Hart Beers."
The featured artists are a brother and sister pairing, with a large room filled half with William's work, and the other half with Julie's.
Albert Bierstadt (1830-1902) increased the vertical dimension to add drama to his study of the Matterhorn.
In 1859, Albert Bierstadt (1830-1902) organized a painting expedition in the high country of the Rocky Mountains. He sought out the help of William Byers, editor of the Rocky Mountain News, a "mountain tramp" who knew his way around.
Byers recalled how the artist "said nothing, but his face was a picture of intense life and excitement. His enthusiasm was badly dampened, but the moment he caught the view, fatigue and hunger were forgotten. He said nothing, but his face was a picture of intense life and excitement. Taking in the view for a moment, he slid off his mule, glanced quickly to see where the jack was that carried his paint outfit, walked sideways to it and began fumbling at the lash-ropes, all the time keeping his eyes on the scene up the valley."
The artist produced one sketch after another, each time exceeding his estimate of how long it would take.
“Wait twenty minutes while I sketch this storm.” They waited, but twenty minutes flew by, and he was still at work. Thirty, forty, and fifty minutes, and then an hour was gone, and the artist, absorbed in his work, was earnestly engaged in transferring the natural sublimity before him to paper. At the end of an hour and a half the artist completed his sketch."
According to Eleanor Harvey in her book The Painted Sketch,
"'It was claimed that the artist’s recording “every detail of so wide a view in time—sketches, each limited to twenty minutes, and each noting the time of day, and consequent relative position of the sun, is one of the secrets of M. Bierstadt’s success.' He also developed a reputation early in his career as a prolific artist in the field, evidenced by the weight of his accumulated materials.”
Books:
Albert Bierstadt: Witness to a Changing West
The Painted Sketch: American Impressions From Nature, 1830-1880 by Eleanor Harvey
Arthur Parton, Lake Scene, 1876 |
Several artists have accomplished this effect of a big gradation around the sun, which influences everything around the source.
Frederic Church |
Russian seascape painter Aivazovsky often applied the effect to seascapes. He suppresses contrasts in the far waves, allowing the big gradation to envelop them.
Franz Richard Unterberger, Venice Under Sunset |
Frederic Church, The ‘Bend in the River’ from Olana, c. 1870-73. Oil on academy board, 10 1/16 x 12 7/8 in. |
Frederic Church, "Winter Sunset from Olana" |
William Trost Richards, American, 1833-1905, A High Tide in Atlantic City, Opaque watercolor with touches of translucent watercolor 8 7/16 x 13 15/16 in. (21.4 x 35.4 cm) on moderately thick, moderately textured wove paper. |
John William Hill, Bird's Nest and Dog Roses, 1867 watercolor, gouache, and graphite |
Thomas Charles Farrer, Mount Tom, 1865, oil on canvas, |
Henry Roderick Newman, Study of Elms, 1866, watercolor, 17 x 19 in. |
Charles Herbert Moore, Hudson River, Above Catskill |
William Trost Richards Corner of the Woods, 1864, graphite, 23 x 17.5 in. |
John William Hill, Apple Blossoms, watercolor, 1874, 9 x 15.5 in. |
Fidelia Bridges, Study of Ferns, oil on board, 10 x 12 in. |