#alvanfisher

[aic-american]

The Prairie on Fire, Alvan Fisher, 1827, Art Institute of Chicago: American Art

Alvan Fisher was a pioneering American landscapist whose work offered an important precedent for the Hudson River School. This painting depicts a subject from James Fenimore Cooper’s 1827 novel The Prairie, the third of the five Leatherstocking Tales. In this scene, Natty Bumppo, the hero of the series, has created a firebreak to protect the story’s protagonists. As a Romantic-era artist, Fisher preferred such dramatic episodes, which involved striking contrasts between light and dark. Unlike contemporaneous illustrations of the scene, which give little sense of setting, in this version the figures are dwarfed by nature, and the prairie grasses are exquisitely rendered, underscoring the landscape’s beauty as well as its dangers. The work thus suggests the significance of the prairie in Cooper’s text. Perhaps for this reason, the author declared that it was “the only good illustration he had seen from his books.” Through prior acquisition of the George F. Harding Fund; restricted gift of Jamee J. and Marshall Field; Americana Endowment Fund Size: 61 × 83.8 cm (24 × 33 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/196282/

[mia-paintings]

Approaching Storm, White Mountains, Alvan Fisher, 1820s, Minneapolis Institute of Art: Paintings

farmstead with figures in LRC; hillside with distant mountain peaks; darkened sky from URC Approaching Storm shows an idealized landscape—here, the White Mountains of New Hampshire. While Fisher’s meticulous rendering of the land and people makes us focus on what he painted, not how he painted it, the brushstrokes forming the clouds are quite obvious. The dark mass threatening a storm hints at Fisher’s role in setting the stage for the Hudson River school, previewing the Romantic approach to landscape championed by Albert Bierstadt and others. Size: 20 1/4 x 23 5/8 in. (51.44 x 60.01 cm) Medium: Oil on canvas

https://collections.artsmia.org/art/106528/

[met-american-paintings]

Scene with Dogs (from McGuire Scrapbook), Alvan Fisher, 1836, American Paintings and Sculpture

Gift of James C. McGuire, 1926 Size: 4 11/16 x 7 3/16 in. (11.9 x 18.3 cm) Medium: Graphite on off-white wove paper

https://www.metmuseum.org/art/collection/search/10887

[harvard-art-museums-drawings]

View of Goat Island, and Part of the Sclosher Fall, Niagara Falls, Alvan Fisher, c. 1820, Harvard Art Museums: Drawings

Harvard Art Museums/Fogg Museum, Anonymous Loan in honor of Jakob Rosenberg Size: 25.2 x 37.9 cm (9 15/16 x 14 15/16 in.) Border drawn in brown ink: 21.4 x 33 cm (8 7/16 x 13 in.) Medium: Graphite and gray wash with brown ink on cream wove paper

https://www.harvardartmuseums.org/collections/object/305748

[bm-american-art]

View of Springfield on the Connecticut River, Alvan Fisher, 1819, Brooklyn Museum: American Art

Size: 41 × 53 × 3 in. (104.1 × 134.6 × 7.6 cm) Medium: Oil on canvas

https://www.brooklynmuseum.org/opencollection/objects/1021

[the-met-art]

Scene with Dogs (from McGuire Scrapbook) by Alvan Fisher, American Paintings and Sculpture

Medium: Graphite on off-white wove paper

Gift of James C. McGuire, 1926 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/10887

[mia-paintings]

Approaching Storm, White Mountains, Alvan Fisher, 1820s, Minneapolis Institute of Art: Paintings

farmstead with figures in LRC; hillside with distant mountain peaks; darkened sky from URC Approaching Storm shows an idealized landscape—here, the White Mountains of New Hampshire. While Fisher’s meticulous rendering of the land and people makes us focus on what he painted, not how he painted it, the brushstrokes forming the clouds are quite obvious. The dark mass threatening a storm hints at Fisher’s role in setting the stage for the Hudson River school, previewing the Romantic approach to landscape championed by Albert Bierstadt and others. Size: 20 1/4 x 23 5/8 in. (51.44 x 60.01 cm) Medium: Oil on canvas

https://collections.artsmia.org/art/106528/

[aic-american]

The Prairie on Fire, Alvan Fisher, 1827, Art Institute of Chicago: American Art

Alvan Fisher was a pioneering American landscapist whose work offered an important precedent for the Hudson River School. This painting depicts a subject from James Fenimore Cooper’s 1827 novel The Prairie, the third of the five Leatherstocking Tales. In this scene, Natty Bumppo, the hero of the series, has created a firebreak to protect the story’s protagonists. As a Romantic-era artist, Fisher preferred such dramatic episodes, which involved striking contrasts between light and dark. Unlike contemporaneous illustrations of the scene, which give little sense of setting, in this version the figures are dwarfed by nature, and the prairie grasses are exquisitely rendered, underscoring the landscape’s beauty as well as its dangers. The work thus suggests the significance of the prairie in Cooper’s text. Perhaps for this reason, the author declared that it was “the only good illustration he had seen from his books.” Through prior acquisition of the George F. Harding Fund; restricted gift of Jamee J. and Marshall Field; Americana Endowment Fund Size: 61 × 83.8 cm (24 × 33 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/196282/

[aic-american]

The Prairie on Fire, Alvan Fisher, 1827, Art Institute of Chicago: American Art

Alvan Fisher was a pioneering American landscapist whose work offered an important precedent for the Hudson River School. This painting depicts a subject from James Fenimore Cooper’s 1827 novel The Prairie, the third of the five Leatherstocking Tales. In this scene, Natty Bumppo, the hero of the series, has created a firebreak to protect the story’s protagonists. As a Romantic-era artist, Fisher preferred such dramatic episodes, which involved striking contrasts between light and dark. Unlike contemporaneous illustrations of the scene, which give little sense of setting, in this version the figures are dwarfed by nature, and the prairie grasses are exquisitely rendered, underscoring the landscape’s beauty as well as its dangers. The work thus suggests the significance of the prairie in Cooper’s text. Perhaps for this reason, the author declared that it was “the only good illustration he had seen from his books.” Through prior acquisition of the George F. Harding Fund; restricted gift of Jamee J. and Marshall Field; Americana Endowment Fund Size: 61 × 83.8 cm (24 × 33 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/196282/

[met-american-paintings]

Scene with Dogs (from McGuire Scrapbook), Alvan Fisher, 1836, American Paintings and Sculpture

Gift of James C. McGuire, 1926 Size: 4 11/16 x 7 3/16 in. (11.9 x 18.3 cm) Medium: Graphite on off-white wove paper

https://www.metmuseum.org/art/collection/search/10887

[mia-paintings]

Approaching Storm, White Mountains, Alvan Fisher, 1820s, Minneapolis Institute of Art: Paintings

farmstead with figures in LRC; hillside with distant mountain peaks; darkened sky from URC Approaching Storm shows an idealized landscape—here, the White Mountains of New Hampshire. While Fisher’s meticulous rendering of the land and people makes us focus on what he painted, not how he painted it, the brushstrokes forming the clouds are quite obvious. The dark mass threatening a storm hints at Fisher’s role in setting the stage for the Hudson River school, previewing the Romantic approach to landscape championed by Albert Bierstadt and others. Size: 20 1/4 x 23 5/8 in. (51.44 x 60.01 cm) Medium: Oil on canvas

https://collections.artsmia.org/art/106528/

[mia-paintings]

Approaching Storm, White Mountains, Alvan Fisher, 1820s, Minneapolis Institute of Art: Paintings

farmstead with figures in LRC; hillside with distant mountain peaks; darkened sky from URC Approaching Storm shows an idealized landscape—here, the White Mountains of New Hampshire. While Fisher’s meticulous rendering of the land and people makes us focus on what he painted, not how he painted it, the brushstrokes forming the clouds are quite obvious. The dark mass threatening a storm hints at Fisher’s role in setting the stage for the Hudson River school, previewing the Romantic approach to landscape championed by Albert Bierstadt and others. Size: 20 1/4 x 23 5/8 in. (51.44 x 60.01 cm) Medium: Oil on canvas

https://collections.artsmia.org/art/106528/

[mia-paintings]

Approaching Storm, White Mountains, Alvan Fisher, 1820s, Minneapolis Institute of Art: Paintings

farmstead with figures in LRC; hillside with distant mountain peaks; darkened sky from URC Approaching Storm shows an idealized landscape—here, the White Mountains of New Hampshire. While Fisher’s meticulous rendering of the land and people makes us focus on what he painted, not how he painted it, the brushstrokes forming the clouds are quite obvious. The dark mass threatening a storm hints at Fisher’s role in setting the stage for the Hudson River school, previewing the Romantic approach to landscape championed by Albert Bierstadt and others. Size: 20 1/4 x 23 5/8 in. (51.44 x 60.01 cm) Medium: Oil on canvas

https://collections.artsmia.org/art/106528/

[aic-american]

The Prairie on Fire, Alvan Fisher, 1827, Art Institute of Chicago: American Art

Alvan Fisher was a pioneering American landscapist whose work offered an important precedent for the Hudson River School. This painting depicts a subject from James Fenimore Cooper’s 1827 novel The Prairie, the third of the five Leatherstocking Tales. In this scene, Natty Bumppo, the hero of the series, has created a firebreak to protect the story’s protagonists. As a Romantic-era artist, Fisher preferred such dramatic episodes, which involved striking contrasts between light and dark. Unlike contemporaneous illustrations of the scene, which give little sense of setting, in this version the figures are dwarfed by nature, and the prairie grasses are exquisitely rendered, underscoring the landscape’s beauty as well as its dangers. The work thus suggests the significance of the prairie in Cooper’s text. Perhaps for this reason, the author declared that it was “the only good illustration he had seen from his books.” Through prior acquisition of the George F. Harding Fund; restricted gift of Jamee J. and Marshall Field; Americana Endowment Fund Size: 61 × 83.8 cm (24 × 33 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/196282/

[mia-paintings]

Approaching Storm, White Mountains, Alvan Fisher, 1820s, Minneapolis Institute of Art: Paintings

farmstead with figures in LRC; hillside with distant mountain peaks; darkened sky from URC Approaching Storm shows an idealized landscape—here, the White Mountains of New Hampshire. While Fisher’s meticulous rendering of the land and people makes us focus on what he painted, not how he painted it, the brushstrokes forming the clouds are quite obvious. The dark mass threatening a storm hints at Fisher’s role in setting the stage for the Hudson River school, previewing the Romantic approach to landscape championed by Albert Bierstadt and others. Size: 20 1/4 x 23 5/8 in. (51.44 x 60.01 cm) Medium: Oil on canvas

https://collections.artsmia.org/art/106528/

[aic-american]

The Prairie on Fire, Alvan Fisher, 1827, Art Institute of Chicago: American Art

Alvan Fisher was a pioneering American landscapist whose work offered an important precedent for the Hudson River School. This painting depicts a subject from James Fenimore Cooper’s 1827 novel The Prairie, the third of the five Leatherstocking Tales. In this scene, Natty Bumppo, the hero of the series, has created a firebreak to protect the story’s protagonists. As a Romantic-era artist, Fisher preferred such dramatic episodes, which involved striking contrasts between light and dark. Unlike contemporaneous illustrations of the scene, which give little sense of setting, in this version the figures are dwarfed by nature, and the prairie grasses are exquisitely rendered, underscoring the landscape’s beauty as well as its dangers. The work thus suggests the significance of the prairie in Cooper’s text. Perhaps for this reason, the author declared that it was “the only good illustration he had seen from his books.” Through prior acquisition of the George F. Harding Fund; restricted gift of Jamee J. and Marshall Field; Americana Endowment Fund Size: 61 × 83.8 cm (24 × 33 in.) Medium: Oil on canvas

https://www.artic.edu/artworks/196282/