Canadian Rockies c. 1889

Editor: So this is Albert Bierstadt’s “Canadian Rockies,” painted around 1889 with oil paints. It's definitely a powerful image. I feel a bit small and awestruck just looking at those majestic mountains. What do you see in this piece, particularly when considering its historical context? Curator: Well, it's crucial to understand how Bierstadt, and the Hudson River School in general, shaped American perceptions of the West. These paintings weren’t just landscapes; they were powerful tools of persuasion. Think about who was viewing these monumental canvases back East. Editor: You mean they weren't seeing it firsthand? Curator: Exactly! The vast majority were experiencing the Rockies through Bierstadt's carefully crafted lens. And it's a specific lens—one of almost divine grandeur and untouched wilderness, conveniently overlooking the ongoing displacement of Indigenous peoples and the expansion of industry that was rapidly transforming the landscape. Do you notice how there are no traces of human intervention? Editor: Now that you mention it, it seems overly idealized... almost propagandistic? Like encouraging expansion, maybe? Curator: Precisely. These images helped build a national identity rooted in conquering and possessing the land. It helped encourage tourism but also justified more destructive behavior under the guise of destiny. How do you feel knowing that? Editor: That kind of taints the initial awe I felt, makes it more complicated. It forces you to consider the costs. Curator: Absolutely. And understanding the historical power dynamics embedded within these seemingly 'natural' landscapes is key to engaging with them critically. It shifts from simple admiration to a deeper awareness of the social narratives at play. Editor: That’s really made me rethink how I approach these types of paintings, and really think about what, or who, is not represented. Curator: It's that deeper critical engagement that makes art history so compelling!