Maney Publishing

[Introduction]Author(s): Ross MerrillSource: Journal of the American Institute for Conservation, Vol. 38, No. 1, Albert Bierstadtand 19th-Century American Art (Spring, 1999), p. 1Published by: Maney Publishing on behalf of The American Institute for Conservation of Historic &Artistic WorksStable URL: http://www.jstor.org/stable/3179833 .

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SPECIAL ISSUE: ALBERT BIERSTADT AND

19TH-CENTURY AMERICAN ART

ROSS MERRILL

An exhibition of paintings by the American artist Albert Bierstadt (1830-1902) was held at the Brooklyn Museum, the Fine Arts Museums of San Francisco, and the National Gallery of Art, in

Washington, D.C., 1991-92. To prepare for the ex- hibition, curators and conservators at the partic- ipating museums investigated the methods of construction and painting techniques found in Bierstadt's paintings as well as significant histor- ical information about the artist. Bierstadt was on the leading edge of what was then current

technology, utilizing panel-back stretchers to pro- tect his paintings and incorporating the latest photographic procedures in evolving his images. A computer database of technical information on Bierstadt's paintings was developed, and several important discoveries made in the course of re- search aided both conservators and art historians in resolving conservation treatment and attribu- tion questions. Investigation into Bierstadt's use of photography in his painting process contin- ues. Several conservators involved in the proj- ect, with specific expertise in various aspects of Bierstadt's work or related 19th-century artists' practices, have generously shared their informa- tion for this issue of the Journal of the American Institute for Conservation (JAIC).

During the Albert Bierstadt: Art & Enterprise exhibition in 1991, the National Gallery of Art held a symposium jointly hosted by the Conser- vation Division and the Education Division of the gallery and sponsored by The Circle of the National Gallery. This two-day symposium in- cluded lectures by curators, art historians, and conservators, who focused on Bierstadt's painting materials and techniques or related issues of 19th- century painting materials. It was the intention of

the National Gallery of Art to publish presenta- tions from the Bierstadt Symposium, but time and federal budget reductions conspired to pre- vent publication. While the symposium lectures resolved some issues raised by Bierstadt's art, conservators have pursued additional questions for the papers published here. I am pleased that JAIC has recognized the importance of these stud- ies and has seen the project to publication.

ROSS MERRILL is chief of conservation at the National Gallery of Art in Washington, D.C.

JAIC 38 (1999):1

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