
Albert Bierstadt earned his initial popularity with a series of landscape paintings of the Rocky Mountains. The works were based on sketches he made on a United States government expedition engaged in mapping an overland route to the Pacific. In 1863, he set out with a group of artists on his second western trip to visit the valley of Yosemite. This painting conveys the spectacular scale and natural majesty of Yosemite Falls. In the foreground near a grove of oaks and cypresses, several men gather at their camp. In the right corner of the painting are a sketching umbrella, a color-box, and other objects that Bierstadt took on the expedition.
American Insurance Company, Boston Gift to John Ingersoll Bowditch, 1864; To his son, Charles Pinkney Bowditch, 1889; To his son, Harold Bowditch, Brookline, Massachusetts, 1919;Acquired by the Putnam Foundation, 1966 [1] Provenance Notes:
San Diego, Timken Art Gallery, 1986, Albert Bierstadt: "Cho-looke, the Yosemite Fall," cat. by Nancy K. Anderson; The Brooklyn Museum;
The Fine Arts Museums of San Francisco; National Gallery of Art, Washington, D.C., :199I-92, Albert Bierstadt: Art & Enterprise, cat. by Nancy K. Anderson and Linda Ferber, pp. 83-84, 198, ills
New-York Evening Post, June 9, 1864, p.1; Fitz Hugh Ludlow, The Heart of the Continent (New York, 1870), ill. opp. p. 438; Richard Shafer Trump, "Life and Works of Albert Bierstadt" (Ph.D. diss., Ohio State University, 1963), p. 218, as Yosemite Scene of Bridal Veil Falls; Gordon
Hendricks, Albert Bierstadt: Painter of the American West (New York, 1973), pp. 132, 155, 326, no.17, fig. 1 (frontispiece), as Camping in
the Yosemite; Timken Art Gallery: European and American Works of Art in the Putnam Foundation Collection (San Diego, 1983), pp. 94-95,
125, no. 34, ill.; American Paradise: The World of the Hudson River School, exh. cat., The Metropolitan Museum of Art (New York, 1987), pp.
288-89, ill.; Nancy K. Anderson, "The European Roots of Albert Bierstadt: Views of the American West," Antiques 139 (January 1991): 220-23,
ill. p. 233.
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