
Expedition
Log

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Kesler
Woodward
Painting the Alaskan
Coast: The Harriman Expedition Paintings in
Context
The painters who accompanied the
last great exploring expedition to Alaska, the Harriman
Expedition of 1899, were far from the first to face the
daunting prospect of portraying this grand landscape.
Understanding the significance of the work they produced on
the voyage and after requires looking at images of these
same landscapes made in the century and a half before the
expedition, and in the century following it.
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Mt.
Fairweather from the Northwest, painted by
Frederick Dellenbaugh in 1899.
Click
image for a larger
view.
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Though its 260-year history
pales in comparison to the depth of Alaska's millennia-old
Native art traditions, painting in Alaska has a rich record
of its own. Visitors and residents have tried for more than
two centuries to find new ways to respond visually to the
region's wonders. To understand the images they made and are
making today, it is essential to ask several questions. Why
did they come, for what conscious purposes, and through what
kind of unconscious filters -- cultural, historical, and
personal -- did they view this new landscape?
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Birch
painted by Kesler Woodward.
Click
image for a larger
view.
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Similar questions about the
makers can be asked of any painting we see. Images are never
neutral. They take points of view, they make statements, and
landscape paintings influence how others see places in
powerful ways. What did the artists on the Harriman
Expedition see when they looked at this land? How did it
look different for them from those who came before, and
those who have come after?
For the first century of contact
by Europeans, artists accompanying discovery expeditions
focused primarily on the exotic Native cultures they
encountered. Landscapes, however grand, served mainly as
backdrops for the Native people who were a puzzle to the
visitors. Official artists on the voyages were given strict
instructions to document, to strive for accuracy, to avoid
personal point of view and embellishment. Inevitably, they
failed. Their subjects--human, animal, and geological -- not
only overawed them, but could only be seen through the
cultural and historical world views they brought with them.
Moreover, the images they produced underwent further
conscious and unconscious transformations as they moved from
sketches, watercolors, or oil paintings by firsthand
observers to engravings and lithographs in published
accounts. Such pictures, those on which the world based its
ideas about this new land and its peoples, were produced
half the globe away by artisans who often "corrected"
anomalies they hadn't seen and couldn't
understand.
By the third quarter of the
nineteenth century, artists were coming to these coasts for
different reasons. Traveling on regularly scheduled steamers
to a region still exotic, but about which tourist guidebooks
were already beginning to appear, they came in search not
just of new scenery, but of fortune, wonder, wilderness, and
escape. Though Native Alaskans and their ways remained
sources of inspiration for artists, and continue to do so
today, the landscape itself had become the primary magnet
for ambitious painters.
By the time Frederick
Dellenbaugh and R. Swain Gifford, celebrated American
painters, accompanied equally well known scientists,
writers, and others on the 1899 Harriman voyage, the
American landscape painting tradition had been in full
flower for a half century. American painters had approached
the landscape in a variety of ways, emphasizing aspects from
the picturesque to the sublime. They had found in it
everything from evidence supporting various geological
theories to evidence of the hand of God. Many had found in
it a scale which seemed to mirror the expansionist American
spirit, and a few had begun to document some of the
consequences of that spirit at work.
Both Dellenbaugh and Gifford had
already traveled extensively in search of new landscapes to
explore and paint, and both were aware of the range of
traditions and possibilities open to landscape painters of
their day. For a variety of reasons having to do with the
nature of the voyage, their instructions, and their personal
interests, skills, and experience, they adopted primarily
documentary, topographical modes. That choice is clear not
only when comparing their paintings with those who painted
before and after them, but even when looking at their work
in comparison to the photographs taken on the Harriman
Expedition.
The paintings of Louis Agassiz
Fuertes, the expedition's bird artist, are necessarily
documentary as well, but in much of the work of this young
artist who would soon become America's most prominent bird
painter, there is an extraordinary liveliness, as well as a
keen sense of place.
The century following the
Harriman Expedition saw a host of important artist visitors
to the region's coasts, perhaps most significant among them
Rockwell Kent, the American painter and illustrator who
would spend much of his life capturing on canvas and paper
the spirit of the North. The twentieth century also saw
Alaska's first long-term resident painters, beginning with
Sydney Laurence in 1904 and Eustace Paul Ziegler in 1909.
The two were destined to become Alaska's most beloved and
sought-after historical painters, Laurence portraying the
grand Alaska landscape and Ziegler focusing on the human
activity in the foreground of those vistas.
Contemporary artists working in
increasingly diverse styles continue to find inspiration in
these shores, and to find new things to say about the
mountains and the sea. It is harder to step back from the
art of our own time and identify the kinds of cultural
assumptions at work in such pictures, but it is possible to
ask some questions about these paintings, as well. Do
visitors and residents see these coasts differently? And do
today's painters see themselves as visitors, as explorers,
as settlers, as pioneers, or as preservers?
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