806

Albert Bierstadt (American, 1830-1902), "Study of a Tree in Woodlands Laden with 'California Spanish Moss'", ca. 1863-1868, oil on paper laid on "Beaver Board", signed lower left, a "Hirschl and Adler Galleries, New York, NY" label en verso, 22" x 15-3/4". Framed. Provenance: Kenneth Lux Gallery, New York, New York (loaned to Hirschl and Adler Galleries in 1977); Sotheby's, New York, New York, October 25, 1979, lot 94; Estate of James G. Coatsworth, Houston, Texas. Albert Bierstadt?ÇÖs epic Western landscapes, accentuated by dramatic lighting, captivated the imagination of 19th-century collectors, because the artist depicted the rugged American wilderness in the Rocky Mountains and Pacific Coast through the rosy tinted lens of "romantic pantheism." For Bierstadt, the landscape was a sublime experience; it was a reflection of God's creation that simultaneously awed and terrified people, and it was a medium for spiritual transcendence that both sanctioned and abated manifest destiny. Bierstadt poignantly articulated this sentiment in an 1863 letter to John Hay, wherein he described his first reflections of California as pure wonderment: "We are now here in the garden of Eden I call it. The most magnificent place I was ever in, and I employed every moment painting from nature." The "carpe diem" urgency Bierstadt expresses in his letter is at the heart of his work executed during the Civil War era. His views of the unchartered West provided an escapist reprieve from the war torn East. Since American identity is historically allied with its frontier, which was geographically and financially rooted in the felling of its virgin wood, these scenes offered hope in the form of American expansionism for rebuilding the nation. The plein-air study offered here is a vignette in the annals of this master narrative; it is a tour-de-force of harmony, comprised of colors from the opposite spectrum of the color-wheel. The tree with its sprawling arms thrusts upward toward the heavens beyond the picture plane, and the burnt oranges in its bark sings against the cobalt sky and resonate with the verdant foliage. The inclusion of "California Spanish Moss" on the background trees is yet another unifying factor. The moss, now a state symbol, is actually a lichen, a nurturing symbiotic fungus, that adorns coastal oaks and conifers. The bold confidence with which this study was executed bespeaks of what Bierstadt experienced while sketching, before he fine-tuned these studies of raw beauty into polished misty landscapes. Nowhere is this better visualized than in Bierstadt?ÇÖs painting "Pioneers of the Woods" (ca. 1863), in the High Museum of Art in Atlanta. The striking resemblance in palette and composition between these paintings strongly suggests that this work was a study for "Pioneers of the Forest". References: Anderson, Nancy. Albert Bierstadt: Art and Enterprise. Manchester, VT: Hudson Hills Press, 1991. pp. 178-194.


  • Condition: In overall very good condition. Evidence of past restoration: scattered pinprick-sized areas of inpainting. Slight abrading along left edge where painting meets frame. Faint surface scratch upper mid-edge. Linear whitish accretions at upper left.

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May 22, 2016 10:00 AM CDT
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