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Portfolio >> Alvan Fisher

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  • Alvan Fisher - The Captured Horse
  • Alvan Fisher - Indians at Sunset
  • Alvan Fisher - After the Shoot
  • Alvan Fisher - Pastoral Landscape
  • Alvan Fisher - The Discovery
  • Alvan Fisher - View of Nahant
  • Alvan Fisher - Providence from Across the Cove
  • Alvan Fisher - A Storm in the Valley
  • Alvan Fisher - Cattle and Sheep
  • Alvan Fisher - Trappers Discover the Smoke of an Indian Camp in the Distance
  • Alvan Fisher - Hunters in a Landscape
  • Alvan Fisher - Roadside Meeting
  • Alvan Fisher - Aaron Bancroft
  • Alvan Fisher - Gate of the Notch
  • Alvan Fisher - Portrait of a Child with a Dog
  • Alvan Fisher - The White Pony
  • Alvan Fisher - A Meeting by a River
  • Alvan Fisher - A Calm Watering Place
  • Alvan Fisher - Scene with Dogs (from McGuire Scrapbook)
  • Alvan Fisher - View Near Springfield Massachusetts
  • Alvan Fisher - Flight to the Fort
  • Alvan Fisher - View of Niagara
  • Alvan Fisher - John Dix Fisher
  • Alvan Fisher - Niagara Falls with Night Fishermen
  • Alvan Fisher - Niagara Falls with Rainbow
  • Alvan Fisher - South view of the several halls of Harvard College. Taken from the balcony of the president's house
  • Alvan Fisher - North east view of the several halls of Harvard College. Taken from the Craigie Road
  • Alvan Fisher - Coastal Scene, Nahant, Massachusetts
  • Alvan Fisher - Eclipse, with Race Track
 
All 44 Artworks from Alvan Fisher





He was born in Needham, Massachusetts, the fourth of Aaron and Lucy (Stedman) Fisher's six sons. He moved with members of his family to Dedham, Massachusetts, around 1805 where he worked as a clerk in his brother's store. After that, he always called Dedham his home. At the age of eighteen, he determined, with the support of his family, to become a painter and began an apprenticeship with John Ritto Penniman in Boston, Massachusetts, along with other young artists such as Charles Codman. There he learned portrait painting while assisting Penniman in decorating carriages and painting commercial signs.
In 1815, at the age of twenty-two, he began his professional career, opening a studio on School Street in Boston. During his first ten years as a painter, he set the tone of his entire career. He traveled extensively painting landscapes, rural scenes, portraits of animals, and portraits of people. The growing popularity of landscape and genre painting coincided with the growing population of the United States and an economically improved middle class. This was the age of democracy and people wanted art that depicted their own contemporary life. In his book, Mirror to the American Past: A Survey of American Genre Painting, 1750-1900, Herman Warner Williams, Jr., wrote, "As our first native-born painter to specialize in genre subjects and to engage a wide audience for them, Alvan Fisher is entitled to more than the slight notice that has been given him ... Only the canny Alvan Fisher was successful in turning a profit from the new themes in his paintings."
Fisher traveled throughout the northeastern United States searching out sites of landscape beauty such as the views of Springfield, Hartford, and Providence and the spectacular scenery of the White Mountains of New Hampshire. He sketched outdoors and began to compose pastoral scenes in his studio before Thomas Cole, Thomas Doughty, Asher B. Durand, or others of the Hudson River School gave serious attention to nature. The Watering Place, 1816, now in the collection of Fruitlands Museum, Harvard, Massachusetts, is his earliest extant pure landscape. His paintings of Niagara Falls were completed following his visit there in 1820.
His interest in depicting topographical subjects got a real jump-start when he obtained a commission to paint views of Harvard College. These paintings were executed expressly for the purpose of issuing engravings for wide distribution to the public. The images of Harvard Yard were later reproduced on Stafforshire transfer-printed earthenware produced by several English companies for the American market. He was commissioned by Charles Henry Hall, owner of the Harlem Stud Farm in New York, to paint portraits of the famous American race horses of the period. He completed at least six portraits of the renowned American Eclipse between 1822 and 1823. Lithograph prints made from these paintings were used in The American Turf Register, the first magazine attempting to improve the breeding of thoroughbred horses in America.
In April, 1825, Fisher sailed for a tour of the great art centers of Europe. He was the first important American landscapist to make such a tour. He visited England, France, Italy and Switzerland, countries considered important for any artist's professional stature and artistic maturation. In London he visited private collections and was inspired by the composition and subject matter of landscapes by Claude Lorrain. In Paris he studied drawing and made copies of works by the Old Masters at the Louvre. While in Paris, he was joined by his younger brother, John Dix Fisher, a graduate of Harvard Medical School who was there to study the effects of smallpox inoculations. (Dr. Fisher is noted for his work on smallpox and was a founder of Perkins School for the Blind in Watertown, Massachusetts.)
Also while in Paris, Alvan Fisher undertook a project similar to his views of Harvard College. He had evidently met General Lafayette in 1824 when Lafayette stopped at Dedham during his triumphal tour of the United States. Fisher was granted permission to complete paintings of Chateau La Grange, Lafayette's estate outside Paris. His four views of La Grange were then drawn on lithographic stones in France by the noted lithographer, Isadore Deroy, and brought back for printing on one of the first lithographic presses used in the United States. Portfolios of these prints were sold a souvenirs building on the popularity of General Lafayette.
After his return from Europe in the fall of 1826, Fisher's mature career began. He opened a studio on Washington Street in Boston where he is said to have been the first landscapist to hang out a professional sign in Boston. His friend, the landscapist Thomas Doughty had his studio a few blocks away. In 1828, the Boston Athenaeum began to purchase paintings for exhibition and bought his Composition from Scenery in the State of New York for $350, then the highest price he had realized for a painting. During the early months of 1834, he joined with Thomas Doughty, Chester Harding, Francis Alexander and other local contributors in opening the Artists' Exhibition at Harding's Gallery where he exhibited forty-three paintings of a variety of subjects - landscapes, genre scenes, portraits, and paintings of marine scenes.[1] This gave the public a unique opportunity to appreciate the breadth of his artistic talent. In 1837, The Massachusetts Charitable Mechanic Association (MCMA) held an arts and crafts fair. (Paul Revere was the first president of the association.) Unlike any previous exhibition in Boston, it appealed to a broad segment of the public who filled the galleries of Faneuil and Quincy Halls to see the exhibits. A critic in the Boston Saturday Evening Gazette wrote, "Fisher has contributed a number of his best compositions, comprising landscapes with groups of figures, barn-yard and cattle scenes, and portraits of children. We cannot ... write a critical notice of such productions, but for variety of style, elegance of design, harmony and richness of coloring, and interesting choice of subjects, Fisher has no superior on this side of the Atlantic." His collection of works received the MCMA's gold medal. During this period, the frequent publication of his pictures as gift book illustrations was perhaps the most important factor contributing to his growing popularity. These "gift books" were elegantly decorated and made small so as to fit comfortably in the hand. Engravings of his original paintings were used to illustrate widely circulated American annuals such as The Token, The Garland, The Jewel, The Lily, and The Magnolia. He typified the artist who appealed to the gift book audience.
n 1840, Fisher and his wife, Lydia (Ellis) Fisher, moved from their townhouse on Beacon Hill in Boston to a house in Dedham near where he had lived as a youth. He had accumulated significant wealth from his artistry and also from his business acumen. He and his brothers had invested in land in Maine and he had also accumulated stocks in textile mills, in copper mines and in railroads. He used this wealth to expand his estate on School Street in Dedham and to establish his studio there. This was the site where he did most of his paintings from the 1850s until his death. He continued to complete portraits as a source of income but his main love was for landscapes and marine scenes. Throughout his career he marketed his works in a variety of ways: he organized auctions to dispose of surplus stock, encouraged clients to buy on installment plans, and placed works on consignment as far away as Mississippi. Mabel Munson Swan states in her article The Unpublished Notebooks of Alvan Fisher, Antiques magazine, August, 1955, "In one of three notebooks ... is a checklist he made of more than one thousand of his paintings, with the names of the purchasers, dates of sale, and prices paid..."
He died at Dedham, Massachusetts on the 13th of February, 1863 and is buried in the Dedham Village Cemetery. Perhaps the greatest recognition of his skill as a landscape artist came one hundred years later when First Lady Jacqueline Kennedy chose his painting,The Remnant of the Tribe, to hang in the Green Room of the White House. The Dedham Historical Society has a collection of his paintings, sketches and biographical material. His largest oil painting, Washington at Dorchester Heights, a nine-by-six foot copy of Gilbert Stuart's painting of the same title, hangs in the Dedham Town Hall, a testimonial to the town's most illustrious painter.

Alvan Fisher (August 9, 1792 – February 13, 1863) was one of the United States's pioneers in landscape painting and genre works.

He was born in Needham, Massachusetts, the fourth of Aaron and Lucy (Stedman) Fisher's six sons. He moved with members of his family to Dedham, Massachusetts, around 1805 where he worked as a clerk in his brother's store. After that, he always called Dedham his home. At the age of eighteen, he determined, with the support of his family, to become a painter and began an apprenticeship with John Ritto Penniman in Boston, Massachusetts, along with other young artists such as Charles Codman. There he learned portrait painting while assisting Penniman in decorating carriages and painting commercial signs.


In 1815, at the age of twenty-two, he began his professional career, opening a studio on School Street in Boston. During his first ten years as a painter, he set the tone of his entire career. He traveled extensively painting landscapes, rural scenes, portraits of animals, and portraits of people. The growing popularity of landscape and genre painting coincided with the growing population of the United States and an economically improved middle class. This was the age of democracy and people wanted art that depicted their own contemporary life. In his book, Mirror to the American Past: A Survey of American Genre Painting, 1750-1900, Herman Warner Williams, Jr., wrote, "As our first native-born painter to specialize in genre subjects and to engage a wide audience for them, Alvan Fisher is entitled to more than the slight notice that has been given him ... Only the canny Alvan Fisher was successful in turning a profit from the new themes in his paintings."


Fisher traveled throughout the northeastern United States searching out sites of landscape beauty such as the views of Springfield, Hartford, and Providence and the spectacular scenery of the White Mountains of New Hampshire. He sketched outdoors and began to compose pastoral scenes in his studio before Thomas Cole, Thomas Doughty, Asher B. Durand, or others of the Hudson River School gave serious attention to nature. The Watering Place, 1816, now in the collection of Fruitlands Museum, Harvard, Massachusetts, is his earliest extant pure landscape. His paintings of Niagara Falls were completed following his visit there in 1820.


His interest in depicting topographical subjects got a real jump-start when he obtained a commission to paint views of Harvard College. These paintings were executed expressly for the purpose of issuing engravings for wide distribution to the public. The images of Harvard Yard were later reproduced on Stafforshire transfer-printed earthenware produced by several English companies for the American market. He was commissioned by Charles Henry Hall, owner of the Harlem Stud Farm in New York, to paint portraits of the famous American race horses of the period. He completed at least six portraits of the renowned American Eclipse between 1822 and 1823. Lithograph prints made from these paintings were used in The American Turf Register, the first magazine attempting to improve the breeding of thoroughbred horses in America.
In April, 1825, Fisher sailed for a tour of the great art centers of Europe. He was the first important American landscapist to make such a tour. He visited England, France, Italy and Switzerland, countries considered important for any artist's professional stature and artistic maturation. In London he visited private collections and was inspired by the composition and subject matter of landscapes by Claude Lorrain. In Paris he studied drawing and made copies of works by the Old Masters at the Louvre. While in Paris, he was joined by his younger brother, John Dix Fisher, a graduate of Harvard Medical School who was there to study the effects of smallpox inoculations. (Dr. Fisher is noted for his work on smallpox and was a founder of Perkins School for the Blind in Watertown, Massachusetts.)


Also while in Paris, Alvan Fisher undertook a project similar to his views of Harvard College. He had evidently met General Lafayette in 1824 when Lafayette stopped at Dedham during his triumphal tour of the United States. Fisher was granted permission to complete paintings of Chateau La Grange, Lafayette's estate outside Paris. His four views of La Grange were then drawn on lithographic stones in France by the noted lithographer, Isadore Deroy, and brought back for printing on one of the first lithographic presses used in the United States. Portfolios of these prints were sold a souvenirs building on the popularity of General Lafayette.


After his return from Europe in the fall of 1826, Fisher's mature career began. He opened a studio on Washington Street in Boston where he is said to have been the first landscapist to hang out a professional sign in Boston. His friend, the landscapist Thomas Doughty had his studio a few blocks away. In 1828, the Boston Athenaeum began to purchase paintings for exhibition and bought his Composition from Scenery in the State of New York for $350, then the highest price he had realized for a painting. During the early months of 1834, he joined with Thomas Doughty, Chester Harding, Francis Alexander and other local contributors in opening the Artists' Exhibition at Harding's Gallery where he exhibited forty-three paintings of a variety of subjects - landscapes, genre scenes, portraits, and paintings of marine scenes.[1] This gave the public a unique opportunity to appreciate the breadth of his artistic talent. In 1837, The Massachusetts Charitable Mechanic Association (MCMA) held an arts and crafts fair. (Paul Revere was the first president of the association.) Unlike any previous exhibition in Boston, it appealed to a broad segment of the public who filled the galleries of Faneuil and Quincy Halls to see the exhibits. A critic in the Boston Saturday Evening Gazette wrote, "Fisher has contributed a number of his best compositions, comprising landscapes with groups of figures, barn-yard and cattle scenes, and portraits of children. We cannot ... write a critical notice of such productions, but for variety of style, elegance of design, harmony and richness of coloring, and interesting choice of subjects, Fisher has no superior on this side of the Atlantic." His collection of works received the MCMA's gold medal. During this period, the frequent publication of his pictures as gift book illustrations was perhaps the most important factor contributing to his growing popularity. These "gift books" were elegantly decorated and made small so as to fit comfortably in the hand. Engravings of his original paintings were used to illustrate widely circulated American annuals such as The Token, The Garland, The Jewel, The Lily, and The Magnolia. He typified the artist who appealed to the gift book audience.


n 1840, Fisher and his wife, Lydia (Ellis) Fisher, moved from their townhouse on Beacon Hill in Boston to a house in Dedham near where he had lived as a youth. He had accumulated significant wealth from his artistry and also from his business acumen. He and his brothers had invested in land in Maine and he had also accumulated stocks in textile mills, in copper mines and in railroads. He used this wealth to expand his estate on School Street in Dedham and to establish his studio there. This was the site where he did most of his paintings from the 1850s until his death. He continued to complete portraits as a source of income but his main love was for landscapes and marine scenes. Throughout his career he marketed his works in a variety of ways: he organized auctions to dispose of surplus stock, encouraged clients to buy on installment plans, and placed works on consignment as far away as Mississippi. Mabel Munson Swan states in her article The Unpublished Notebooks of Alvan Fisher, Antiques magazine, August, 1955, "In one of three notebooks ... is a checklist he made of more than one thousand of his paintings, with the names of the purchasers, dates of sale, and prices paid..."


He died at Dedham, Massachusetts on the 13th of February, 1863 and is buried in the Dedham Village Cemetery. Perhaps the greatest recognition of his skill as a landscape artist came one hundred years later when First Lady Jacqueline Kennedy chose his painting,The Remnant of the Tribe, to hang in the Green Room of the White House. The Dedham Historical Society has a collection of his paintings, sketches and biographical material. His largest oil painting, Washington at Dorchester Heights, a nine-by-six foot copy of Gilbert Stuart's painting of the same title, hangs in the Dedham Town Hall, a testimonial to the town's most illustrious painter.

[Biography - Alvan Fisher - 19Ko]
Alvan Fisher (9 août 1792 - 13 Février, 1863) fut l'un des Etats-Unis de pionniers dans la peinture de paysage et de scènes de genre. Il est né à Needham, Massachusetts, le quatrième d'Aaron et de Lucy (Stedman) Fisher six fils. Il s'est déplacé avec les membres de sa famille à Dedham, Massachusetts, vers 1805, où il a travaillé comme commis au mag...
[Biography - Alvan Fisher - 14Ko]
Alvan Fisher (9. August 1792 - 13. Februar 1863) war einer der Vereinigten Staaten zu den Pionieren in der Landschaftsmalerei und Genre. Er war in Needham, Massachusetts, das vierte von Aaron und Lucy (Stedman) Fisher sechs Söhne geboren. Er zog mit seiner Familie zu Dedham, Massachusetts, um 1805, wo er als Angestellter bei seinem Bruder zu speich...
[Biography - Alvan Fisher - 11Ko]
Alvan Fisher (9 agosto 1792 - 13 Febbraio 1863) fu uno dei pionieri della pittura di paesaggio e le opere di genere negli Stati Uniti è. E 'nato a Needham, nel Massachusetts, il quarto di Aronne e Lucy (Stedman) Fisher sei figli. Si trasferisce con i membri della sua famiglia a Dedham, Massachusetts, circa 1805 dove ha lavorato come commesso nel ne...
[Biography - Alvan Fisher - 10Ko]
Alvan Fisher (ag 9, 1792-feb 13, 1863) fue uno de los pioneros de los Estados Unidos en la pintura de paisajes y obras de género. Él nació en Needham, Massachusetts, el cuarto de Aaron y Lucy (Stedman) de Fisher seis hijos. Se trasladó con los miembros de su familia en Dedham, Massachusetts, alrededor de 1805, donde trabajó como vendedor en la tien...
[Biography - Alvan Fisher - 12Ko]
Alvan Fisher (09 de agosto de 1792 - 13 de fevereiro de 1863) foi um dos pioneiros do Estados Unidos na pintura de paisagem e as obras gênero. Ele nasceu em Needham, Massachusetts, o quarto de Aaron e (Stedman) Lucy Fisher seis filhos. Mudou-se com membros da sua família para Dedham, Massachusetts, por volta de 1805, onde trabalhou como balconista ...
[Biography - Alvan Fisher - 11Ko]
Алван Фишер (9 августа 1792 - 13 февраля, 1863) был одним из Соединенных Штатов пионерами в живописи пейзажа и жанровых работ. Он родился в Нидхэм, штат Массачусетс, четвертый Аарона и Люси (Стедман) Фишера шесть сыновей. Он переехал вместе с членами своей семьи Dedham, Массачусетс, около 1805, где он работал клерком в магазине своего брата. После ...
[Biography - Alvan Fisher - 10Ko]
Alvan费舍尔(8月9日,1792年 - 1863年2月13日)是山水画和体裁的作品在美国的先驱之一。 他出生在李约瑟,马萨诸塞州,亚伦和露西(斯特德曼)费舍尔的六个儿子第四。他移动了与他的家人,大约在1805年到汉马萨诸塞州,在那里他作为一个在他哥哥的商店店员工作。之后,他总是叫汉的他的家。在十八岁,他下定决心,与他的家人的支持,成为一名画家,并开始在马萨诸塞州波士顿,与约翰栗东Penniman以及与其他年轻的艺术家,如查尔斯科德曼学徒。在那里,他学会了肖像画,装饰车,同时协助Penniman和绘画的商业标志。 1815年,年龄在二十二个,他开始他的职业生涯,开放工作室就在波士顿学院街。在他的第一个10年作为一个画家,他将他的整个职业生涯的基调。他广泛游历画山水,农村景象,动物的画像,和...
[Biography - Alvan Fisher - 4Ko]
アルヴァンフィッシャー(1792年8月9日 - 1863年2月13日)は、風景画とジャンルの作品で、米国の先駆者の一人。 彼は、ニーダム、マサチューセッツ州、アーロンとルーシー(ステッドマン)フィッシャーの息子6人の第四に生まれました。彼は彼の兄弟の店で店員として働いていた1805年のまわり、デダム、マサチューセッツ州に彼の家族のメンバーと一緒に移動。その後、彼は常に彼の家デダムと呼ばれる。 18歳で、彼は画家になるために、彼の家族の支援を受けて、決定され、チャールズタラ漁船などの他の若いアーティストと一緒にボストンのジョン栗東Penniman、マサチューセッツ州、との見習いを始めた。飾る馬車でPennimanを支援し、商業的な看板をペイントしながら、彼は絵画肖像学びました。 1815年に二...
[Biography - Alvan Fisher - 5Ko]
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