Bierstadt, Albert - Donner Lake from the Summit (1873)

Albert Bierstadt did not paint Donner Lake from the Summit in 1873 just to capture a pretty mountain vista. He painted it because a railroad baron paid him to make industrial expansion look like an act of God.

Collis P. Huntington commissioned the piece to commemorate the Central Pacific Railroad tearing through the unforgiving Sierra Nevada. Bierstadt delivered a massive oil on canvas spanning nearly six feet of manufactured awe. The transcontinental railroad was an industrial beast of smoke and steel. But Bierstadt buried the actual wooden snow sheds of the tracks deep within the sweeping mountain backdrop. They are barely visible. He swallowed human engineering in a vast and divine wilderness.

New York critics hated it. They claimed his colors were absurdly exaggerated for pure theatrical effect. They completely missed the point. Bierstadt was not painting a documentary. He was selling a myth.

The extreme lighting contrasts do not show the landscape as it actually existed. They show the landscape as Huntington wanted the world to see it. A golden promised land conquered by human will. Bierstadt understood the assignment perfectly. You do not paint reality when you are paid to paint manifest destiny. You crank up the gold paint and cast deep shadows to hide the scars on the rock. You make the wild look terrifying and conquered all at once. The railroad was a brutal business venture. Bierstadt wrapped it in holy light and sold it back to an eager nation.

References

Bierstadt, Albert. Donner Lake from the Summit. 1873. Oil on canvas. 74 by 182.2 centimeters. New York Historical Society.

Ferber, Linda S. Albert Bierstadt Art and Enterprise. Hudson Hills Press New York, 1990.

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