1 00:00:01,320 --> 00:00:04,240 Speaker 1: Welcome to Stuff You Missed in History Class, a production 2 00:00:04,400 --> 00:00:14,040 Speaker 1: of iHeartRadio. Hello, and welcome to the podcast. I'm Holly 3 00:00:14,120 --> 00:00:15,800 Speaker 1: Frye and I'm Tracy V. 4 00:00:15,920 --> 00:00:16,360 Speaker 2: Wilson. 5 00:00:16,840 --> 00:00:19,439 Speaker 1: Tracy, We're going crazy over here. We're going to do 6 00:00:19,560 --> 00:00:23,440 Speaker 1: this whole thing backwards this week. We're going to need 7 00:00:23,480 --> 00:00:26,520 Speaker 1: this episode backwards because we're going to read listener mail first, 8 00:00:27,000 --> 00:00:30,600 Speaker 1: because this listener mail led to this episode. So this 9 00:00:30,640 --> 00:00:33,800 Speaker 1: is from our listener who only signed their email with 10 00:00:33,840 --> 00:00:37,960 Speaker 1: an L. I see their name in the return address, 11 00:00:38,040 --> 00:00:40,519 Speaker 1: but I don't know if they would like it kept 12 00:00:40,920 --> 00:00:45,080 Speaker 1: out of the show, so Elle writes, Hi, Holly and Tracy. 13 00:00:45,159 --> 00:00:48,600 Speaker 1: I have my PhD in SMI HC, and over the 14 00:00:48,640 --> 00:00:51,239 Speaker 1: years of enjoying your show, I have only ever liked 15 00:00:51,280 --> 00:00:54,680 Speaker 1: the art focused episodes because of the non art stuff, 16 00:00:55,000 --> 00:00:59,080 Speaker 1: the family drama, the historical event connections, etc. As an 17 00:00:59,120 --> 00:01:01,360 Speaker 1: engineer from a family full of stem people, I had 18 00:01:01,400 --> 00:01:03,800 Speaker 1: only ever looked at art as something that took skill 19 00:01:04,200 --> 00:01:07,280 Speaker 1: and that those weird creative people were obsessed with. My 20 00:01:07,360 --> 00:01:10,160 Speaker 1: partner and I recently moved to the Denver area, partially 21 00:01:10,160 --> 00:01:12,160 Speaker 1: for work, but also because we love the mountains and 22 00:01:12,200 --> 00:01:15,240 Speaker 1: the outdoors. This past weekend, we went to the Denver 23 00:01:15,360 --> 00:01:19,160 Speaker 1: Art Museum, mainly to enjoy the architecture and the museum vibes. 24 00:01:19,560 --> 00:01:22,160 Speaker 1: As we wandered the exhibits, I saw a painting that 25 00:01:22,280 --> 00:01:25,039 Speaker 1: stopped me in my tracks. I stared at it for 26 00:01:25,080 --> 00:01:27,280 Speaker 1: a good ten minutes before my partner found me and 27 00:01:27,319 --> 00:01:29,600 Speaker 1: wondered if I was okay, because why would I want 28 00:01:29,640 --> 00:01:32,040 Speaker 1: to look at a painting for so long? It was 29 00:01:32,160 --> 00:01:36,039 Speaker 1: wind River Country by Albert Bierstadt. The depth and the 30 00:01:36,080 --> 00:01:38,480 Speaker 1: beauty and the way he so perfectly captured the way 31 00:01:38,520 --> 00:01:41,480 Speaker 1: I feel when I'm in the outdoors took my breath away. 32 00:01:41,920 --> 00:01:43,800 Speaker 1: I went on to find all his other works in 33 00:01:43,840 --> 00:01:46,600 Speaker 1: that museum and became obsessed. I sat in front of 34 00:01:46,680 --> 00:01:49,520 Speaker 1: Rocky Pool, New Hampshire and almost teared up from how 35 00:01:49,560 --> 00:01:51,560 Speaker 1: much it felt like I was back in my childhood, 36 00:01:51,560 --> 00:01:55,040 Speaker 1: playing in the woods and exploring my surroundings. All of 37 00:01:55,080 --> 00:01:57,440 Speaker 1: that to say, I have a newfound appreciation for the 38 00:01:57,440 --> 00:01:59,760 Speaker 1: way art impacts people, and I can no longer make 39 00:01:59,800 --> 00:02:02,480 Speaker 1: fun of you, Holly and everyone else that loves art, 40 00:02:02,480 --> 00:02:05,560 Speaker 1: because now I do too. I couldn't find an episode 41 00:02:05,600 --> 00:02:08,440 Speaker 1: on Beerstatt, so if you've covered him already, my apologies, 42 00:02:08,760 --> 00:02:11,480 Speaker 1: but he seems like an interesting character for an episode. 43 00:02:12,000 --> 00:02:16,120 Speaker 1: Elle attaches Pet tacks of They're very sweet pups, Rosy 44 00:02:16,240 --> 00:02:19,679 Speaker 1: and Bucket, who are referred to as two dummies who 45 00:02:19,720 --> 00:02:21,840 Speaker 1: love to fight over sticks and go on adventures with us. 46 00:02:22,080 --> 00:02:24,959 Speaker 1: They look like perfect angels. They don't look like dummies, 47 00:02:25,000 --> 00:02:29,080 Speaker 1: so they look like perfect babies. Listenel, I love an 48 00:02:29,160 --> 00:02:31,760 Speaker 1: art awakening, and you managed to fall in love with 49 00:02:31,800 --> 00:02:34,480 Speaker 1: the work of an artist whose story is pretty interesting 50 00:02:34,480 --> 00:02:38,640 Speaker 1: because it runs counter to the romanticized idea we often 51 00:02:39,240 --> 00:02:42,119 Speaker 1: have or is often portrayed in media of a passionate, 52 00:02:42,160 --> 00:02:46,880 Speaker 1: starving artist. Beer Stott was not naturally talented, although he 53 00:02:46,919 --> 00:02:51,560 Speaker 1: clearly developed incredible skills to make just arresting imagery, and 54 00:02:51,639 --> 00:02:56,360 Speaker 1: he was really really unusually strategic in his career, selecting 55 00:02:56,400 --> 00:02:59,960 Speaker 1: imagery that he knew was gonna appeal widely to us audience, 56 00:03:00,720 --> 00:03:04,000 Speaker 1: and he also found ways to monetize his art outside 57 00:03:04,040 --> 00:03:07,960 Speaker 1: of selling paintings in print. He is really really interesting 58 00:03:08,000 --> 00:03:11,840 Speaker 1: to me, So here's your episode. He became known for 59 00:03:12,280 --> 00:03:16,880 Speaker 1: primarily painting the grandeur of the American landscape, but as 60 00:03:16,880 --> 00:03:19,280 Speaker 1: we'll see, there's a lot more to his story. 61 00:03:20,200 --> 00:03:24,840 Speaker 3: Albert Bierstatt was born in Solingen, Germany, on January seventh, 62 00:03:24,880 --> 00:03:29,000 Speaker 3: eighteen thirty Sometimes he's described as being from nearby Dusseldorf, 63 00:03:29,480 --> 00:03:34,480 Speaker 3: mostly because that's a larger and more recognizable city. His parents, 64 00:03:34,560 --> 00:03:38,559 Speaker 3: Henry and Christina, already had five children when Albert was born. 65 00:03:38,880 --> 00:03:42,160 Speaker 3: Although he was born in Germany, he's often described as 66 00:03:42,200 --> 00:03:45,440 Speaker 3: being an American artist, and that's because his family moved 67 00:03:45,480 --> 00:03:48,520 Speaker 3: to the US in eighteen thirty two, when Albert was 68 00:03:48,720 --> 00:03:53,440 Speaker 3: just a two year old. The Beerstots moved to New Bedford, Massachusetts, 69 00:03:53,440 --> 00:03:57,800 Speaker 3: for the whaling industry. Henry was a cooper, and whaling towns, 70 00:03:57,840 --> 00:03:59,880 Speaker 3: of course, needed plenty of barrels. 71 00:04:01,040 --> 00:04:04,000 Speaker 1: We don't have a whole lot of details about Albert's 72 00:04:04,000 --> 00:04:06,680 Speaker 1: early years other than the fact that he was interested 73 00:04:06,720 --> 00:04:10,040 Speaker 1: in art from a young age. He did not formally 74 00:04:10,080 --> 00:04:12,720 Speaker 1: study art as a kid. He just practiced a lot, 75 00:04:12,800 --> 00:04:16,120 Speaker 1: and he developed his own knowledge and skill set just 76 00:04:16,160 --> 00:04:19,840 Speaker 1: through self study. But though he hadn't ever learned our 77 00:04:19,880 --> 00:04:23,560 Speaker 1: informal setting, he was apparently and natural at teaching it 78 00:04:23,960 --> 00:04:26,840 Speaker 1: because when he was just twenty, Beerstatt had begun teaching 79 00:04:26,920 --> 00:04:31,159 Speaker 1: painting to make money. Ads ran in the Boston evening 80 00:04:31,200 --> 00:04:35,120 Speaker 1: transcript for his teaching services that read quote, look at 81 00:04:35,120 --> 00:04:40,279 Speaker 1: this monochromatic painting. Mister Albert Berstatt commenced teaching the above 82 00:04:40,400 --> 00:04:42,919 Speaker 1: art in this city with a few scholars, and was 83 00:04:43,000 --> 00:04:46,880 Speaker 1: so successful that the number soon reached seventy. And although 84 00:04:46,880 --> 00:04:49,960 Speaker 1: the promise that every scholar should, in six lessons of 85 00:04:50,000 --> 00:04:52,839 Speaker 1: two hours each make a picture worthy of a frame, 86 00:04:53,560 --> 00:04:55,520 Speaker 1: we are not aware of any case in which he 87 00:04:55,600 --> 00:04:59,200 Speaker 1: has not succeeded in redeeming that pledge. Although some of 88 00:04:59,200 --> 00:05:02,080 Speaker 1: the scholars at the time they commenced knew nothing of 89 00:05:02,160 --> 00:05:06,680 Speaker 1: drawing or perspective. So this ad is undersigned by a 90 00:05:06,760 --> 00:05:10,479 Speaker 1: number of people, including people who list their professions, and 91 00:05:10,520 --> 00:05:13,960 Speaker 1: a couple of them are principles of local schools, their booksellers, 92 00:05:14,040 --> 00:05:17,440 Speaker 1: and their other pupils of beer Stott. Also, just as 93 00:05:17,480 --> 00:05:19,880 Speaker 1: in a side in case you do not know, monochromatic 94 00:05:19,880 --> 00:05:23,599 Speaker 1: painting is a painting that uses a single color, the hue, 95 00:05:23,640 --> 00:05:26,680 Speaker 1: and then the details are added using variations of that color, 96 00:05:27,000 --> 00:05:30,159 Speaker 1: so tints which are created by adding white, shades which 97 00:05:30,160 --> 00:05:33,200 Speaker 1: are created by adding black, and tones which are created 98 00:05:33,240 --> 00:05:34,279 Speaker 1: by mixing in gray. 99 00:05:35,600 --> 00:05:38,360 Speaker 3: These ads ran for more than a year, as did 100 00:05:38,400 --> 00:05:43,160 Speaker 3: more editorial commentaries on his classes and their value. This 101 00:05:43,240 --> 00:05:46,600 Speaker 3: is a pretty interesting situation because at the time Beerstott 102 00:05:46,600 --> 00:05:50,080 Speaker 3: wasn't particularly accomplished as an artist, although he did bill 103 00:05:50,200 --> 00:05:53,520 Speaker 3: himself as a master. This was actually a part of 104 00:05:53,560 --> 00:05:56,839 Speaker 3: young Beerstott's bigger effort to just hustle out a living 105 00:05:56,880 --> 00:06:00,280 Speaker 3: for himself. And a lecture given by Karen Quinn, a 106 00:06:00,320 --> 00:06:03,760 Speaker 3: curator at the Museum of Fine Arts Boston, Quinn describes 107 00:06:03,839 --> 00:06:09,279 Speaker 3: Bierstutt as a pet Barnum like character because he would 108 00:06:09,279 --> 00:06:12,520 Speaker 3: also arrange to have other artists work brought into the city, 109 00:06:12,520 --> 00:06:14,599 Speaker 3: and he would charge money for people to see them. 110 00:06:15,279 --> 00:06:18,440 Speaker 3: This wasn't like a curated exhibit or a collection. It 111 00:06:18,560 --> 00:06:21,960 Speaker 3: wasn't affiliated with the museum, just a little money making 112 00:06:22,160 --> 00:06:25,960 Speaker 3: enterprise that he had come up with. In eighteen fifty one, 113 00:06:26,080 --> 00:06:28,960 Speaker 3: Beerstutt started working with oil paints for the first time, 114 00:06:29,120 --> 00:06:31,640 Speaker 3: and it actually wasn't long until he had his first 115 00:06:31,680 --> 00:06:35,400 Speaker 3: exhibition of these efforts. That same year, he had the 116 00:06:35,440 --> 00:06:39,280 Speaker 3: thirteen painting shown at the New England Art Union in Boston. 117 00:06:39,880 --> 00:06:42,920 Speaker 3: In eighteen fifty three, he had another exhibit, this time 118 00:06:42,960 --> 00:06:47,320 Speaker 3: at the Massachusetts Academy of Fine Arts. Bierstatt had clearly 119 00:06:47,360 --> 00:06:49,679 Speaker 3: made a name for himself as an artist, at least 120 00:06:49,720 --> 00:06:53,159 Speaker 3: locally in Boston in the first years of the eighteen fifties. 121 00:06:53,720 --> 00:06:57,080 Speaker 3: His name appears in print in various papers as being 122 00:06:57,200 --> 00:07:00,560 Speaker 3: part of art sales and exhibitions, and in cases where 123 00:07:00,560 --> 00:07:05,119 Speaker 3: he's listed with other artists, he's often mentioned first. During 124 00:07:05,200 --> 00:07:07,800 Speaker 3: this period, he, like a lot of other artists of 125 00:07:07,839 --> 00:07:10,800 Speaker 3: the time, traveled to the White Mountains in New Hampshire. 126 00:07:11,480 --> 00:07:15,520 Speaker 3: Bierstott had started to become deeply interested in painting landscapes, 127 00:07:15,800 --> 00:07:18,280 Speaker 3: and while he painted a lot of imagery from the 128 00:07:18,280 --> 00:07:22,200 Speaker 3: White Mountains and other nearby places, he was also interested 129 00:07:22,240 --> 00:07:25,800 Speaker 3: in learning more about his craft and expanding his sphere 130 00:07:25,920 --> 00:07:28,920 Speaker 3: beyond New England. So at the age of twenty three, 131 00:07:28,960 --> 00:07:32,840 Speaker 3: Berstott returned to Germany, hoping to study art in Dusseldorf. 132 00:07:33,840 --> 00:07:36,240 Speaker 3: His goal was to get to the Dusseldorf School, but 133 00:07:36,440 --> 00:07:38,360 Speaker 3: that proved to be a bit of a challenge, and 134 00:07:38,400 --> 00:07:42,360 Speaker 3: there's a little bit of intrigue here. The Dusseldorf School 135 00:07:42,560 --> 00:07:45,640 Speaker 3: was led at the time by Andreas Achenbach. He was 136 00:07:45,680 --> 00:07:49,320 Speaker 3: a German painter born in eighteen fifteen, and his specialty 137 00:07:49,440 --> 00:07:50,400 Speaker 3: was landscapes. 138 00:07:50,520 --> 00:07:51,440 Speaker 2: And seascapes. 139 00:07:52,280 --> 00:07:55,720 Speaker 3: If you look at his painting in Beerstatt's side by side, 140 00:07:55,840 --> 00:08:00,720 Speaker 3: the influence is immediately obvious, and Albert Biher wanted to 141 00:08:00,760 --> 00:08:04,960 Speaker 3: be taught by him, but he was dissuaded from doing 142 00:08:05,040 --> 00:08:08,520 Speaker 3: so after some other artists told him that Ackenbach was 143 00:08:08,560 --> 00:08:12,320 Speaker 3: not taking on any new students at the time. This 144 00:08:12,440 --> 00:08:15,800 Speaker 3: does not seem to have been true. It's not clear 145 00:08:15,840 --> 00:08:19,800 Speaker 3: if that information had been told to Albert erroneously or 146 00:08:19,840 --> 00:08:23,320 Speaker 3: if maybe it was some kind of a cruel joke. Regardless, 147 00:08:23,480 --> 00:08:27,640 Speaker 3: Beerstott believed it despite that discouraging turn. He stayed in 148 00:08:27,640 --> 00:08:30,080 Speaker 3: Europe for several years, and it was during this time 149 00:08:30,120 --> 00:08:32,720 Speaker 3: that he really developed the art style he would become 150 00:08:32,800 --> 00:08:36,920 Speaker 3: known for. That was sweeping landscapes with really dramatic lighting. 151 00:08:37,880 --> 00:08:40,920 Speaker 3: In addition to his studies in Germany, Albert traveled around 152 00:08:40,960 --> 00:08:43,959 Speaker 3: Europe and he used the landscapes he saw there as 153 00:08:44,000 --> 00:08:46,720 Speaker 3: the subjects for his work. In addition to the style 154 00:08:46,800 --> 00:08:49,320 Speaker 3: of his art, he also developed the techniques that he 155 00:08:49,360 --> 00:08:52,439 Speaker 3: would use to create them. He made sketches, and he 156 00:08:52,480 --> 00:08:55,360 Speaker 3: would eventually also take photos, and then he would take 157 00:08:55,440 --> 00:08:59,319 Speaker 3: that reference material and make oil sketches, so relatively small, 158 00:08:59,480 --> 00:09:04,440 Speaker 3: quick pains to test out his compositions. Some of these 159 00:09:04,520 --> 00:09:08,240 Speaker 3: he would then transition onto large canvases. One of his 160 00:09:08,280 --> 00:09:11,800 Speaker 3: other techniques was plussing up landscapes by changing the details 161 00:09:11,800 --> 00:09:14,320 Speaker 3: for some added drama. So this might mean shifting the 162 00:09:14,360 --> 00:09:17,280 Speaker 3: geography a little bit to include more elements, or adding 163 00:09:17,360 --> 00:09:19,880 Speaker 3: animals or villages or people to give a sense of 164 00:09:19,920 --> 00:09:23,760 Speaker 3: the scale. Yeah, there's a great moment in that lecture 165 00:09:23,800 --> 00:09:28,360 Speaker 3: that we mentioned earlier where there's an example of his 166 00:09:28,480 --> 00:09:31,240 Speaker 3: art being shown and it's like, hey, you can't see 167 00:09:31,240 --> 00:09:34,240 Speaker 3: these mountains from this place. He shifted stuff around and 168 00:09:34,320 --> 00:09:38,000 Speaker 3: scooted it a little so everything looked more majestic. Was 169 00:09:38,080 --> 00:09:41,120 Speaker 3: Kintiletto doing something similar? I feel like we talked about 170 00:09:41,120 --> 00:09:43,600 Speaker 3: that too. Oh yeah, many artists did the same thing. 171 00:09:44,600 --> 00:09:47,440 Speaker 3: In Berstatt's case, it led to a few instances where 172 00:09:47,480 --> 00:09:51,600 Speaker 3: people misidentified what he had actually painted because it just 173 00:09:51,640 --> 00:09:53,200 Speaker 3: didn't look like anything. 174 00:09:52,840 --> 00:09:54,920 Speaker 2: That was quite right. Right. 175 00:09:54,960 --> 00:09:57,400 Speaker 1: Coming up, we are going to talk about how Berstatt's 176 00:09:57,440 --> 00:10:00,280 Speaker 1: career took off once he was back in the US. Well, first, 177 00:10:00,280 --> 00:10:11,800 Speaker 1: we're going to take a little sponsor break. In eighteen 178 00:10:11,880 --> 00:10:15,920 Speaker 1: fifty seven, Beerstot returned to the US with a matured style, 179 00:10:16,480 --> 00:10:18,800 Speaker 1: and initially he went back to teaching art lessons to 180 00:10:18,840 --> 00:10:20,880 Speaker 1: make ends meet, but once he was kind of back 181 00:10:20,920 --> 00:10:24,680 Speaker 1: on his feet, he focused exclusively on his own painting. 182 00:10:25,640 --> 00:10:28,280 Speaker 1: Most of the paintings that Beerstot made during the months 183 00:10:28,320 --> 00:10:31,679 Speaker 1: after he returned to the US from Europe were historical pieces. 184 00:10:31,720 --> 00:10:36,040 Speaker 1: They were sort of visual representations of fictional moments in 185 00:10:36,120 --> 00:10:40,560 Speaker 1: European history, or sometimes real moments that he was fictionalizing visually. 186 00:10:41,280 --> 00:10:44,040 Speaker 1: In eighteen fifty seven, Beerstot had the good fortune of 187 00:10:44,080 --> 00:10:48,080 Speaker 1: selling one of these paintings to the Boston Athenaeum. This piece, 188 00:10:48,160 --> 00:10:51,319 Speaker 1: known as the Portico of Octavia, depicts the ancient Roman 189 00:10:51,360 --> 00:10:54,120 Speaker 1: structure of the same name, built in twenty three BCE 190 00:10:54,480 --> 00:10:58,319 Speaker 1: by the Roman emperor Augustus. But the depiction by Berstatt 191 00:10:58,400 --> 00:11:02,640 Speaker 1: shows the way historically nificant spaces evolve and change and 192 00:11:02,720 --> 00:11:06,319 Speaker 1: even become mundane as they are repurposed for changing times. 193 00:11:07,120 --> 00:11:10,400 Speaker 1: That change is evidence in an alternate title for the painting, 194 00:11:10,480 --> 00:11:14,440 Speaker 1: which is Roman Fish Market. The painting captures a moment. 195 00:11:14,720 --> 00:11:18,640 Speaker 1: The entire scene is filled with life, including fish carcasses, 196 00:11:18,760 --> 00:11:22,040 Speaker 1: people hawking their offerings, and even people dozing in the 197 00:11:22,040 --> 00:11:25,000 Speaker 1: open air market. There's a cat angling for a bit 198 00:11:25,000 --> 00:11:27,400 Speaker 1: of fish, and a couple of dogs and several ducks 199 00:11:27,440 --> 00:11:31,000 Speaker 1: on the scene, and it's all contemporary to Beerstatt's time. 200 00:11:31,920 --> 00:11:35,160 Speaker 1: Over the street behind the portico, laundry can be seen 201 00:11:35,240 --> 00:11:38,720 Speaker 1: hanging across the gap between buildings. And although this scene 202 00:11:38,760 --> 00:11:41,720 Speaker 1: is full of everyday people and things, there is also 203 00:11:41,920 --> 00:11:45,440 Speaker 1: still a tourist couple dressed very smartly walking through it. 204 00:11:46,000 --> 00:11:49,000 Speaker 1: The husband, who's wearing his spectacles, carries a red covered 205 00:11:49,040 --> 00:11:52,160 Speaker 1: guide book and he's looking up at all of the architecture. 206 00:11:52,600 --> 00:11:54,959 Speaker 1: His wife, on the other hand, who's wearing this yellow 207 00:11:55,000 --> 00:11:57,719 Speaker 1: and green dress, is looking around at the people and 208 00:11:57,760 --> 00:12:02,600 Speaker 1: her street level surroundings. Portico of Octavia is a large painting, 209 00:12:02,679 --> 00:12:05,000 Speaker 1: but it's not huge. It's a little larger than two 210 00:12:05,000 --> 00:12:07,360 Speaker 1: feet by three feet, so about two thirds of a 211 00:12:07,400 --> 00:12:10,400 Speaker 1: meter by one meter. His paintings would get much bigger 212 00:12:10,440 --> 00:12:11,480 Speaker 1: than that going forward. 213 00:12:12,520 --> 00:12:15,840 Speaker 3: In eighteen fifty eight, Beerstatt had a painting accepted for 214 00:12:16,000 --> 00:12:19,280 Speaker 3: exhibition by the National Academy of Design in New York. 215 00:12:19,960 --> 00:12:24,080 Speaker 3: The painting, which depicted Lake Lucerne and the surrounding Swiss Alps, 216 00:12:24,160 --> 00:12:27,680 Speaker 3: was created using multiple sketches that Albert had made during 217 00:12:27,679 --> 00:12:31,600 Speaker 3: his four years studying in Europe. This painting shows all 218 00:12:31,720 --> 00:12:34,040 Speaker 3: of the hallmarks of the style that would really make 219 00:12:34,080 --> 00:12:37,960 Speaker 3: Beerstatt successful. It's large, six feet by ten feet. It 220 00:12:38,000 --> 00:12:41,640 Speaker 3: offers a sweeping landscape view of open land in the 221 00:12:41,640 --> 00:12:45,240 Speaker 3: foreground and a mountain range in the background. Of course, 222 00:12:45,280 --> 00:12:47,320 Speaker 3: it has the water of the lake and it uses 223 00:12:47,520 --> 00:12:50,520 Speaker 3: light glancing off the clouds and the snow capped mountain 224 00:12:50,520 --> 00:12:54,560 Speaker 3: peaks to great dramatic effect. This is a critical success 225 00:12:54,679 --> 00:12:57,520 Speaker 3: and was so highly regarded that Beerstatt has made an 226 00:12:57,520 --> 00:13:01,920 Speaker 3: honorary member of the National Academy Design. The NAD was 227 00:13:02,000 --> 00:13:05,720 Speaker 3: and is an honor society which includes artists quote selected 228 00:13:05,720 --> 00:13:09,120 Speaker 3: by their peers and recognition of their extraordinary contributions to 229 00:13:09,280 --> 00:13:12,440 Speaker 3: art and architecture in America. So for a twenty eight 230 00:13:12,480 --> 00:13:15,040 Speaker 3: year old artists just getting started in his career, this 231 00:13:15,200 --> 00:13:18,080 Speaker 3: was a big achievement to be recognized in this way. 232 00:13:19,200 --> 00:13:23,480 Speaker 1: Berstatt's focus on European subjects changed after he joined a 233 00:13:23,520 --> 00:13:28,240 Speaker 1: government contracted overland survey in eighteen fifty nine. He had 234 00:13:28,240 --> 00:13:31,240 Speaker 1: an opportunity that year to travel across the North American 235 00:13:31,320 --> 00:13:35,400 Speaker 1: continent with a survey expedition led by Colonel Frederick W. Lander, 236 00:13:35,760 --> 00:13:38,320 Speaker 1: who had been tasked with building a trail that would 237 00:13:38,360 --> 00:13:42,760 Speaker 1: pass through Idaho and Wyoming. This early work on assessing 238 00:13:42,800 --> 00:13:45,840 Speaker 1: the land where the trail might go traveled along the 239 00:13:45,880 --> 00:13:48,520 Speaker 1: Platte River, and it gave Berstott the chance to see 240 00:13:48,559 --> 00:13:51,920 Speaker 1: a lot of landscapes, and he made sketches and took 241 00:13:52,000 --> 00:13:55,960 Speaker 1: notes and photographs along the way. So we've covered various 242 00:13:56,000 --> 00:13:58,760 Speaker 1: aspects of the history of photography on the show before, 243 00:13:58,760 --> 00:14:02,200 Speaker 1: including back to be episodes on Louis Daguerre and Robert 244 00:14:02,200 --> 00:14:05,600 Speaker 1: Cornelius in December of twenty twenty one, and those men 245 00:14:05,640 --> 00:14:08,160 Speaker 1: were working in the first half of the nineteenth century, 246 00:14:08,280 --> 00:14:12,000 Speaker 1: so photography was still really quite new when Beerstott started 247 00:14:12,080 --> 00:14:15,120 Speaker 1: using it to capture images of scenery that he hoped 248 00:14:15,160 --> 00:14:18,959 Speaker 1: to later reproduce in paint. This whole trip had been 249 00:14:19,000 --> 00:14:22,680 Speaker 1: something Bierstott did with commercial sales of his work in mind. 250 00:14:23,240 --> 00:14:26,440 Speaker 1: He understood the fascination in the US with the West. 251 00:14:26,600 --> 00:14:27,360 Speaker 2: At the time, this. 252 00:14:27,600 --> 00:14:31,200 Speaker 3: Was seen as a huge landscape of potential and opportunity, 253 00:14:31,360 --> 00:14:35,200 Speaker 3: so Bierstott had decided to paint that landscape as part 254 00:14:35,200 --> 00:14:38,440 Speaker 3: of his own financial potential and opportunity and to paint it, 255 00:14:38,560 --> 00:14:41,160 Speaker 3: he needed to see it and to make sketches. So 256 00:14:41,280 --> 00:14:43,560 Speaker 3: this journey was a time in which he collected the 257 00:14:43,600 --> 00:14:47,240 Speaker 3: material that he thought would have commercial success, and in 258 00:14:47,320 --> 00:14:50,440 Speaker 3: a large enough volume that he could have several years 259 00:14:50,560 --> 00:14:52,360 Speaker 3: worth of reference for paintings. 260 00:14:53,360 --> 00:14:56,640 Speaker 1: By September eighteen fifty nine, Beerstott was back home in 261 00:14:56,760 --> 00:14:58,760 Speaker 1: New York, where he had moved, and he had his 262 00:14:58,880 --> 00:15:02,680 Speaker 1: new inspiration. He had found the entire journey really quite 263 00:15:02,720 --> 00:15:06,360 Speaker 1: eye opening, and after thinking for years that European scenes 264 00:15:06,400 --> 00:15:08,840 Speaker 1: were going to be his work's focus, he declared, quote, 265 00:15:09,040 --> 00:15:11,960 Speaker 1: our own country has the best material for the artist 266 00:15:12,120 --> 00:15:14,640 Speaker 1: in the world. When he moved to New York, he 267 00:15:14,720 --> 00:15:17,520 Speaker 1: rented a space at the Tenth Street Studio Building to 268 00:15:17,600 --> 00:15:21,880 Speaker 1: work from. The Tenth Street Studio Building was an important building. 269 00:15:22,040 --> 00:15:25,600 Speaker 3: It was designed by architect Richard Morris Hunt and it 270 00:15:25,640 --> 00:15:28,920 Speaker 3: was the first structure that was purpose built to house 271 00:15:29,160 --> 00:15:33,720 Speaker 3: artists studios. The building, which was completed in eighteen fifty eight, 272 00:15:33,880 --> 00:15:37,880 Speaker 3: was at fifteen tenth Street in Greenwich Village. Eight years later, 273 00:15:37,920 --> 00:15:40,720 Speaker 3: in a street number change, it became fifty one West 274 00:15:40,840 --> 00:15:45,680 Speaker 3: tenth Street, Edidman built at the behest of James Boorman 275 00:15:45,840 --> 00:15:49,320 Speaker 3: Johnston a real estate speculator who saw the growing art 276 00:15:49,400 --> 00:15:51,960 Speaker 3: scene in New York and thought that if he erected 277 00:15:52,000 --> 00:15:55,880 Speaker 3: a building that offered both work and living space to artists, 278 00:15:55,880 --> 00:15:57,120 Speaker 3: he would easily fill it. 279 00:15:57,160 --> 00:15:57,920 Speaker 2: And he was right. 280 00:15:58,480 --> 00:16:00,960 Speaker 3: Not only did the Tenth Street Studio building fill up, 281 00:16:01,120 --> 00:16:04,120 Speaker 3: it became a hub of arts in the city. The 282 00:16:04,160 --> 00:16:06,880 Speaker 3: building had its own gallery space so that the artists 283 00:16:06,920 --> 00:16:10,080 Speaker 3: living there could exhibit on site, and it became a 284 00:16:10,240 --> 00:16:13,240 Speaker 3: very collaborative place as well as home to a number 285 00:16:13,320 --> 00:16:15,000 Speaker 3: of artistic rivalries. 286 00:16:15,920 --> 00:16:18,960 Speaker 1: And the Hudson River School was centralized at the ten 287 00:16:19,040 --> 00:16:22,520 Speaker 1: Street Studios. This was not actually a school, but a 288 00:16:22,560 --> 00:16:25,440 Speaker 1: movement and a group of artists. A write up on 289 00:16:25,480 --> 00:16:29,160 Speaker 1: the Metropolitan Museum of Arts website calls it quote America's 290 00:16:29,200 --> 00:16:33,800 Speaker 1: first true artistic fraternity. This group was highly inspired by 291 00:16:33,840 --> 00:16:36,560 Speaker 1: the work of Thomas Cole, who painted what he called 292 00:16:36,640 --> 00:16:41,720 Speaker 1: a quote higher style of landscape. This style combined visible 293 00:16:41,840 --> 00:16:46,360 Speaker 1: vista with narrative and occasionally even biblical stories, and although 294 00:16:46,480 --> 00:16:49,960 Speaker 1: Cole died in eighteen forty eight, the artists who wished 295 00:16:50,000 --> 00:16:53,040 Speaker 1: to paint in his same style coalesced into a group. 296 00:16:53,760 --> 00:16:56,320 Speaker 1: To be clear, they did not call themselves the Hudson 297 00:16:56,400 --> 00:16:58,880 Speaker 1: River School. That name was applied to the group later 298 00:16:58,960 --> 00:17:01,800 Speaker 1: by a critic because many of the group's members moved 299 00:17:01,800 --> 00:17:04,360 Speaker 1: on to homes on the Hudson River after their time 300 00:17:04,400 --> 00:17:06,800 Speaker 1: in Greenwich Village. We're going to talk about that name 301 00:17:06,840 --> 00:17:08,760 Speaker 1: and how it was not in fact a compliment in 302 00:17:08,840 --> 00:17:12,040 Speaker 1: just a little while. But in addition to Albert Beerstatt, 303 00:17:12,080 --> 00:17:14,880 Speaker 1: some of the artists associated with this group are Frederick 304 00:17:15,000 --> 00:17:20,160 Speaker 1: Edwin Church, Charles Herbert Moore, Sandford Robinson Gifford, Asher B. Durand, 305 00:17:20,240 --> 00:17:23,600 Speaker 1: and Sarah Cole. Sarah Cole was actually Thomas Cole's sister. 306 00:17:24,400 --> 00:17:27,720 Speaker 3: In eighteen sixty, Albert produced the first painting that was 307 00:17:27,760 --> 00:17:31,280 Speaker 3: based on his experiences from that cross country travel. It 308 00:17:31,359 --> 00:17:34,439 Speaker 3: was titled Base of the Rocky Mountains. We don't know 309 00:17:34,480 --> 00:17:37,000 Speaker 3: a whole lot about this particular painting because it has 310 00:17:37,040 --> 00:17:39,840 Speaker 3: been lost. There's a black and white photo of it 311 00:17:39,960 --> 00:17:42,920 Speaker 3: hanging in a gallery at the Buffalo Fine Arts Academy, 312 00:17:42,960 --> 00:17:45,399 Speaker 3: but it's not a clear photo, and the painting is 313 00:17:45,480 --> 00:17:48,480 Speaker 3: kind of at an angle. It's not facing the camera directly. 314 00:17:49,320 --> 00:17:53,040 Speaker 3: It's obviously a mountain landscape, but additional details are hard 315 00:17:53,080 --> 00:17:53,640 Speaker 3: to make out. 316 00:17:54,480 --> 00:17:57,560 Speaker 1: After a few years of work in producing paintings. Albert 317 00:17:57,600 --> 00:18:01,399 Speaker 1: needed more reference to make more paintings. In eighteen sixty three, 318 00:18:01,440 --> 00:18:04,360 Speaker 1: he went on a second long journey across the country. 319 00:18:05,200 --> 00:18:08,560 Speaker 1: This time he traveled with author Fitzhugh Ludlow, who is 320 00:18:08,720 --> 00:18:11,520 Speaker 1: definitely on my short list of topics, and the two 321 00:18:11,560 --> 00:18:14,240 Speaker 1: men spent a lot of time in Utah and northern 322 00:18:14,280 --> 00:18:18,119 Speaker 1: California on this trip. They also stayed in Yosemite Valley 323 00:18:18,160 --> 00:18:21,640 Speaker 1: east of San Francisco for almost two months, and then 324 00:18:21,640 --> 00:18:24,840 Speaker 1: from there they moved north to Oregon before eventually returning 325 00:18:24,840 --> 00:18:26,440 Speaker 1: to the East Coast. 326 00:18:27,080 --> 00:18:30,320 Speaker 3: The US Civil War changed things for beer Stott, but 327 00:18:30,640 --> 00:18:33,159 Speaker 3: not in a way that you might expect. He was 328 00:18:33,160 --> 00:18:36,119 Speaker 3: called up for military service in eighteen sixty three, but 329 00:18:36,240 --> 00:18:39,080 Speaker 3: he did not serve. He was one of the people 330 00:18:39,160 --> 00:18:42,200 Speaker 3: that had enough money and privilege and means to pay 331 00:18:42,320 --> 00:18:45,399 Speaker 3: someone else to serve on their behalf, which was a 332 00:18:45,480 --> 00:18:47,919 Speaker 3: thing you could do at that time, so he just 333 00:18:47,960 --> 00:18:51,000 Speaker 3: went on with his life and his career. He would 334 00:18:51,080 --> 00:18:54,240 Speaker 3: not really feel a personal impact from the war until 335 00:18:54,400 --> 00:18:56,800 Speaker 3: well after it had claimed the lives of more than 336 00:18:56,840 --> 00:19:00,800 Speaker 3: six hundred thousand people. While his military service was being 337 00:19:00,800 --> 00:19:04,920 Speaker 3: fulfilled by another man, beerstock painted Rocky Mountains landers Peak. 338 00:19:05,160 --> 00:19:07,439 Speaker 3: That's a piece which won him acclaim when it was 339 00:19:07,520 --> 00:19:12,000 Speaker 3: exhibited at the New York Metropolitan Sanitary Fair. That was 340 00:19:12,040 --> 00:19:15,200 Speaker 3: an event held by the US Sanitary Commission to raise 341 00:19:15,320 --> 00:19:19,200 Speaker 3: money for sick and wounded Civil War soldiers. People could 342 00:19:19,240 --> 00:19:21,520 Speaker 3: pay a small fee to see the gallery of art 343 00:19:21,560 --> 00:19:24,880 Speaker 3: on exhibit, and that money went into the support fund. 344 00:19:25,840 --> 00:19:29,280 Speaker 3: In addition to being a charitable effort, this painting was 345 00:19:29,320 --> 00:19:31,200 Speaker 3: also a boon to his reputation. 346 00:19:32,400 --> 00:19:36,120 Speaker 1: In eighteen sixty five, Beerstott built himself a home outside 347 00:19:36,119 --> 00:19:38,680 Speaker 1: the city in Irvington, New York, on the Hudson River. 348 00:19:39,280 --> 00:19:42,439 Speaker 1: The location of that home is in what's Terrytown, New 349 00:19:42,520 --> 00:19:45,680 Speaker 1: York today, and this was something that was made possible 350 00:19:45,760 --> 00:19:47,879 Speaker 1: by the years he had been working to make money, 351 00:19:47,920 --> 00:19:52,399 Speaker 1: but particularly because in eighteen sixty five he sold Rocky 352 00:19:52,440 --> 00:19:55,800 Speaker 1: Mountains landers Peak to a man named James McHenry for 353 00:19:55,920 --> 00:20:00,560 Speaker 1: twenty five thousand dollars. That is not adjusted today's currency, 354 00:20:01,000 --> 00:20:03,119 Speaker 1: that would be close to half a million dollars in 355 00:20:03,160 --> 00:20:06,920 Speaker 1: today's money. Beerstott named his new home that he was 356 00:20:06,960 --> 00:20:10,199 Speaker 1: able to build because of this windfall Malcosten, which is 357 00:20:10,240 --> 00:20:13,159 Speaker 1: the German word for paint box. That was also the 358 00:20:13,240 --> 00:20:17,120 Speaker 1: name of a political artists association in Dusseldorf, which had 359 00:20:17,119 --> 00:20:20,800 Speaker 1: been founded in eighteen forty eight. The home was designed 360 00:20:20,800 --> 00:20:23,840 Speaker 1: by architect Jacob Ray Mold and it was a luxury 361 00:20:23,880 --> 00:20:27,120 Speaker 1: home with three stories and a footprint of seventy five 362 00:20:27,160 --> 00:20:30,120 Speaker 1: by one hundred feet or twenty three by thirty meters. 363 00:20:30,920 --> 00:20:34,840 Speaker 1: Albert's studio in particular, had very high ceilings. It had 364 00:20:34,880 --> 00:20:37,880 Speaker 1: twenty foot tall doors that could be opened on either 365 00:20:38,000 --> 00:20:41,320 Speaker 1: end to create sort of a grand salon. And that 366 00:20:41,480 --> 00:20:44,520 Speaker 1: sounds very fancy pants unicorn, but it actually makes a 367 00:20:44,560 --> 00:20:47,320 Speaker 1: lot of sense for his work because he did tend 368 00:20:47,320 --> 00:20:51,040 Speaker 1: to create such large paintings, so with a massive space 369 00:20:51,080 --> 00:20:53,239 Speaker 1: that he could open up when he wished, he not 370 00:20:53,280 --> 00:20:56,160 Speaker 1: only had plenty of room to work on those giant canvases, 371 00:20:56,480 --> 00:20:58,719 Speaker 1: but he also had enough area to see what they 372 00:20:58,760 --> 00:21:01,920 Speaker 1: looked like from a distance. He also, during this time 373 00:21:02,040 --> 00:21:05,399 Speaker 1: did maintain a studio in the city. But while the 374 00:21:05,440 --> 00:21:09,440 Speaker 1: giant studio space at Malcostin makes sense, you might wonder 375 00:21:09,480 --> 00:21:14,240 Speaker 1: why a bachelor would need or want such a grand mansion. Well, 376 00:21:14,520 --> 00:21:18,040 Speaker 1: maybe just to have it, But there was an interesting 377 00:21:18,119 --> 00:21:21,960 Speaker 1: bit of interpersonal intrigue with Beerstatt and his friend Ludlow 378 00:21:22,040 --> 00:21:25,160 Speaker 1: in the years after they finished their trip that had, 379 00:21:25,280 --> 00:21:27,880 Speaker 1: of course happened in eighteen sixty three and eighteen sixty four. 380 00:21:28,840 --> 00:21:31,840 Speaker 3: Fitth Ludlow was married to a woman named Rosalie. They 381 00:21:31,920 --> 00:21:34,720 Speaker 3: had been married in the late eighteen fifties, when Rosalie 382 00:21:34,760 --> 00:21:37,560 Speaker 3: was eighteen and he was in his early twenties. She 383 00:21:37,720 --> 00:21:42,399 Speaker 3: was often described as incredibly pretty, very vivacious, and flirtatious. 384 00:21:43,040 --> 00:21:44,960 Speaker 2: They were a popular couple in the New. 385 00:21:44,920 --> 00:21:48,960 Speaker 3: York literary scene of the mid nineteenth century, but after 386 00:21:49,080 --> 00:21:52,400 Speaker 3: fitz got back from his journey out west, their marriage 387 00:21:52,440 --> 00:21:57,080 Speaker 3: went south. It's unclear exactly what happened between them, but 388 00:21:57,160 --> 00:22:00,600 Speaker 3: there were rumors of infidelity, and some pretty so substantial 389 00:22:00,640 --> 00:22:05,000 Speaker 3: evidence for that. In eighteen sixty six, Beerstott made a 390 00:22:05,040 --> 00:22:10,080 Speaker 3: painting titled A Storm in the Rocky Mountains Mount Rosalie. 391 00:22:10,200 --> 00:22:14,080 Speaker 3: There is no Mount Rosalie. He had titled this painting 392 00:22:14,240 --> 00:22:18,399 Speaker 3: in honor of Ludlow's wife. That of course cemented the 393 00:22:18,480 --> 00:22:22,080 Speaker 3: rumors that he was the person that Rosalie Ludlow was 394 00:22:22,119 --> 00:22:26,200 Speaker 3: having an affair with. Those rumors appeared to gain additional 395 00:22:26,280 --> 00:22:29,439 Speaker 3: validation when the Ludlows were divorced in May of eighteen 396 00:22:29,520 --> 00:22:34,600 Speaker 3: sixty six, and Albert and Rosalie got married that November. Somehow, 397 00:22:34,640 --> 00:22:38,560 Speaker 3: Albert and Fitz remained friends despite this turn of events. 398 00:22:39,440 --> 00:22:41,840 Speaker 1: Yeah, fitz Ludlow had a kind of a short life. 399 00:22:41,880 --> 00:22:43,679 Speaker 1: Like I said, he is on my short list because 400 00:22:44,440 --> 00:22:48,960 Speaker 1: that is a story. But this marriage between Albert and 401 00:22:49,040 --> 00:22:52,720 Speaker 1: Rosalie and the completion of his new mansion marked the 402 00:22:52,720 --> 00:22:56,040 Speaker 1: start of a really productive time for beer Stott. He 403 00:22:56,080 --> 00:22:58,760 Speaker 1: made a lot of paintings, but the quality of those 404 00:22:58,800 --> 00:23:01,320 Speaker 1: paintings is said to be some of his best work. 405 00:23:02,000 --> 00:23:04,600 Speaker 1: He wasn't just sitting at home and working, though, because 406 00:23:04,800 --> 00:23:07,800 Speaker 1: he seemed to almost always be traveling around New England 407 00:23:07,800 --> 00:23:12,360 Speaker 1: with his brothers, photographing landscapes for future use as painting reference. 408 00:23:12,720 --> 00:23:15,440 Speaker 1: But in fact he traveled a lot for many years 409 00:23:15,440 --> 00:23:19,320 Speaker 1: to many places after his estate had been completed. In 410 00:23:19,359 --> 00:23:22,680 Speaker 1: a moment, we'll discuss how Albert was received in Europe 411 00:23:22,760 --> 00:23:25,000 Speaker 1: during his and Rosalie's honeymoon. 412 00:23:25,040 --> 00:23:27,800 Speaker 2: But first we'll hear from the sponsors that keep stuffumusts 413 00:23:27,800 --> 00:23:29,000 Speaker 2: in history class going. 414 00:23:38,680 --> 00:23:42,000 Speaker 1: Albert and Rosalie spent two years in Europe as sort 415 00:23:42,000 --> 00:23:45,480 Speaker 1: of a late and prolonged honeymoon. And this actually seems 416 00:23:45,520 --> 00:23:47,800 Speaker 1: like it must have been a pretty dizzying tour because 417 00:23:47,840 --> 00:23:49,960 Speaker 1: he had become famous by that point, and he was 418 00:23:50,040 --> 00:23:52,960 Speaker 1: received by heads of state and lauded as one of 419 00:23:52,960 --> 00:23:57,680 Speaker 1: the greatest living artists. He met Queen Victoria and gave 420 00:23:57,680 --> 00:24:00,520 Speaker 1: her a private exhibition of his paintings. He hartied with 421 00:24:00,640 --> 00:24:04,240 Speaker 1: previous podcast subject Franz's List, and he was given the 422 00:24:04,280 --> 00:24:08,199 Speaker 1: French Legion of Honor Metal by Napoleon the Third. And 423 00:24:08,240 --> 00:24:11,480 Speaker 1: he was also really calculated about parleying all of this 424 00:24:11,600 --> 00:24:16,159 Speaker 1: popularity into additional income. For one thing, he was able 425 00:24:16,320 --> 00:24:20,520 Speaker 1: to make connections to wealthy collectors who could potentially become clients. 426 00:24:21,240 --> 00:24:24,000 Speaker 1: But another thing he did sort of harkens back to 427 00:24:24,080 --> 00:24:27,280 Speaker 1: his first years in New Haven, putting together little art 428 00:24:27,320 --> 00:24:30,560 Speaker 1: exhibits and charging money for people to see them. Because 429 00:24:30,600 --> 00:24:33,280 Speaker 1: while he was in Europe, beer Stott rented studios and 430 00:24:33,320 --> 00:24:36,879 Speaker 1: he continued working, and then he would stage display events 431 00:24:36,880 --> 00:24:38,800 Speaker 1: where people could pay a fee and come to his 432 00:24:38,880 --> 00:24:42,000 Speaker 1: studio and see his canvas before it was sent home 433 00:24:42,040 --> 00:24:45,600 Speaker 1: to the US for exhibit and or sale. He had 434 00:24:45,680 --> 00:24:49,680 Speaker 1: realized that he could monetize his paintings beyond just selling them. 435 00:24:49,760 --> 00:24:53,680 Speaker 1: And beyond selling display tickets, he also started getting into 436 00:24:53,720 --> 00:24:57,320 Speaker 1: the prince business, enabling to start selling art to people 437 00:24:57,320 --> 00:25:01,000 Speaker 1: who couldn't afford originals to an almost limited degree. 438 00:25:02,000 --> 00:25:02,520 Speaker 2: Back in the. 439 00:25:02,560 --> 00:25:06,240 Speaker 3: US, the couple traveled to California together in eighteen seventy 440 00:25:06,280 --> 00:25:10,040 Speaker 3: one aboard the trans Continental Railroad, which was newly completed. 441 00:25:10,800 --> 00:25:13,520 Speaker 3: They ended up spending two years on the West coast, 442 00:25:13,680 --> 00:25:18,320 Speaker 3: visiting Yosemite Valley and the Sierra Nevada Mountains. As always, 443 00:25:18,359 --> 00:25:21,680 Speaker 3: Albert sketched throughout this journey and then made oil sketches 444 00:25:21,760 --> 00:25:24,440 Speaker 3: and larger paintings based on the reference that he had 445 00:25:24,480 --> 00:25:27,960 Speaker 3: created while on the trip. One of these is Seal 446 00:25:28,080 --> 00:25:32,520 Speaker 3: Rock Pacific Ocean, California, which feels almost playful in comparison 447 00:25:32,560 --> 00:25:35,560 Speaker 3: to his other work, including other work of this same vista, 448 00:25:36,200 --> 00:25:39,800 Speaker 3: because it includes an assortment of seals clambering around a 449 00:25:39,800 --> 00:25:43,520 Speaker 3: set of rocks. Yeah, the oil sketch that he did 450 00:25:43,600 --> 00:25:46,960 Speaker 3: to preclude the larger painting is extra silly. There's like 451 00:25:47,000 --> 00:25:51,119 Speaker 3: a little seal in the center foreground, like popping his 452 00:25:51,240 --> 00:25:54,080 Speaker 3: head up into the frame making a very silly face. 453 00:25:54,880 --> 00:25:55,679 Speaker 2: It's quite charming. 454 00:25:56,080 --> 00:25:59,359 Speaker 1: The late eighteen seventies and into the eighteen eighties were 455 00:25:59,480 --> 00:26:02,959 Speaker 1: a time shifting luck for beer Stott. He had managed 456 00:26:03,000 --> 00:26:06,159 Speaker 1: to orchestrate such an impressive rise through the art world 457 00:26:06,240 --> 00:26:10,280 Speaker 1: and such a successful career financially, but then his good 458 00:26:10,320 --> 00:26:13,960 Speaker 1: fortunes seemed to just kind of run out. Rosalie was 459 00:26:14,000 --> 00:26:17,639 Speaker 1: sick in eighteen seventy six and the diagnosis was not good. 460 00:26:18,040 --> 00:26:22,720 Speaker 1: It was tuberculosis. Her doctor prescribed her warm climates, so 461 00:26:22,840 --> 00:26:24,920 Speaker 1: she and Albert went to the Bahamas when the New 462 00:26:24,920 --> 00:26:28,840 Speaker 1: England weather turned cold. He painted Shore of the Turquoise 463 00:26:28,840 --> 00:26:31,520 Speaker 1: Sea while they were on their tropical retreat there, and 464 00:26:31,600 --> 00:26:35,399 Speaker 1: that is an incredibly beautiful rendition of waves breaking onto 465 00:26:35,440 --> 00:26:39,240 Speaker 1: a craggy beach. The translucence that Beerstott was able to 466 00:26:39,280 --> 00:26:43,280 Speaker 1: capture in the water is very, very striking. Critics thought 467 00:26:43,320 --> 00:26:45,800 Speaker 1: so too. When he brought this painting back to New 468 00:26:45,880 --> 00:26:48,320 Speaker 1: York and displayed it at the National Academy of Design, 469 00:26:48,440 --> 00:26:48,679 Speaker 1: it was. 470 00:26:48,680 --> 00:26:49,520 Speaker 2: A huge hit. 471 00:26:50,560 --> 00:26:53,679 Speaker 1: Rosalie's health waxed and waned over the following years, and 472 00:26:53,720 --> 00:26:57,800 Speaker 1: they continued to spend winters in the Bahamas. This next 473 00:26:57,840 --> 00:27:01,000 Speaker 1: bit isn't really something that affected out Bert Beierstatt, but 474 00:27:01,160 --> 00:27:03,600 Speaker 1: it's next in the timeline and it sets up an 475 00:27:03,640 --> 00:27:06,520 Speaker 1: interesting story that helps illustrate the ways in which his 476 00:27:06,640 --> 00:27:11,359 Speaker 1: work has been perceived over the decades. In eighteen seventy seven, 477 00:27:11,520 --> 00:27:16,280 Speaker 1: Alvin Adams, purchaser of Lake Lucerne, died. That painting went 478 00:27:16,359 --> 00:27:18,879 Speaker 1: up for auction as part of the sale of his estate. 479 00:27:18,920 --> 00:27:22,600 Speaker 1: In eighteen eighty two, a man named Hezekiah Kanent bought 480 00:27:22,600 --> 00:27:25,560 Speaker 1: it for a whopping three thousand, three hundred and seventy 481 00:27:25,600 --> 00:27:29,919 Speaker 1: five dollars, and then that painting vanished conn It died 482 00:27:29,960 --> 00:27:32,760 Speaker 1: in nineteen oh two, but the painting was not among 483 00:27:32,840 --> 00:27:34,439 Speaker 1: his assets at that time. 484 00:27:34,560 --> 00:27:38,560 Speaker 3: Its whereabouts were not known. This was a large painting 485 00:27:38,760 --> 00:27:41,080 Speaker 3: six feet tall and ten feet wide or one point 486 00:27:41,160 --> 00:27:43,200 Speaker 3: eight meters by three meters, so it's not as though 487 00:27:43,240 --> 00:27:46,800 Speaker 3: somebody could have just misplaced it, lost track of it 488 00:27:46,840 --> 00:27:51,240 Speaker 3: in storage, accidentally stuck it behind another painting, it. 489 00:27:51,240 --> 00:27:53,320 Speaker 2: Went into a midden heap accidentally. 490 00:27:54,880 --> 00:27:57,480 Speaker 3: We're mentioning this because the painting is going to pop 491 00:27:57,560 --> 00:27:59,880 Speaker 3: up again at the end of the episode. So then 492 00:28:00,160 --> 00:28:04,200 Speaker 3: in eighteen eighty two there was a fire at Malkasten 493 00:28:04,320 --> 00:28:07,600 Speaker 3: and the entire mansion burned down, and Albert had a 494 00:28:07,640 --> 00:28:09,160 Speaker 3: great many paintings. 495 00:28:08,720 --> 00:28:11,639 Speaker 1: There, all of which were lost. He also had a 496 00:28:11,680 --> 00:28:15,520 Speaker 1: significant collection of indigenous artifacts that he had collected while 497 00:28:15,520 --> 00:28:18,160 Speaker 1: traveling in which he used in his work as reference 498 00:28:18,600 --> 00:28:21,480 Speaker 1: that was also gone, and to. 499 00:28:21,320 --> 00:28:24,920 Speaker 3: Make matters worse, the eighteen eighties is when the impact 500 00:28:25,000 --> 00:28:28,240 Speaker 3: of the Civil War in the United States really finally 501 00:28:28,280 --> 00:28:30,800 Speaker 3: started to affect Beerstat's livelihood. 502 00:28:31,840 --> 00:28:33,240 Speaker 2: This was more than a. 503 00:28:33,160 --> 00:28:36,440 Speaker 3: Decade after the war before it really started to happen, 504 00:28:37,080 --> 00:28:41,080 Speaker 3: but as post war attitudes in the US had shifted, 505 00:28:41,200 --> 00:28:46,080 Speaker 3: so had the country's taste in art. Berstot's popularity earlier 506 00:28:46,160 --> 00:28:48,440 Speaker 3: in the nineteenth century had been really tied to the. 507 00:28:48,440 --> 00:28:50,480 Speaker 2: Idea of manifest destiny. 508 00:28:51,360 --> 00:28:54,120 Speaker 3: His work appealed to people who believed that it was 509 00:28:54,200 --> 00:28:58,400 Speaker 3: God's will that European born and descended people in North 510 00:28:58,400 --> 00:29:03,080 Speaker 3: America would expand to the country westward and also spread 511 00:29:03,200 --> 00:29:06,520 Speaker 3: their way of doing things. Of course, this was tied 512 00:29:06,560 --> 00:29:10,240 Speaker 3: to the whole concept of colonialism and pioneer spirit and 513 00:29:10,240 --> 00:29:14,320 Speaker 3: the idea that somehow the European influenced way of life 514 00:29:14,520 --> 00:29:18,400 Speaker 3: was the right one, and Beersad had kind of courted 515 00:29:18,480 --> 00:29:22,840 Speaker 3: that whole misguided idealism in his selection of material and 516 00:29:22,920 --> 00:29:27,680 Speaker 3: the style in which he painted. He had included imagery 517 00:29:27,760 --> 00:29:30,920 Speaker 3: of indigenous cultures in his art as a way to 518 00:29:31,040 --> 00:29:35,680 Speaker 3: appeal to the exoticism that like white East Coasters engaged 519 00:29:35,720 --> 00:29:39,719 Speaker 3: in regarding Native Americans. He really made a lot of 520 00:29:39,800 --> 00:29:45,160 Speaker 3: money on capturing natural beauty while also offering what he 521 00:29:45,280 --> 00:29:50,160 Speaker 3: was depicting as a place that beckoned development, but in 522 00:29:50,240 --> 00:29:53,360 Speaker 3: a nation that had been through a devastating war because 523 00:29:53,360 --> 00:29:56,520 Speaker 3: people could not decide on what exactly that right way 524 00:29:56,560 --> 00:29:59,719 Speaker 3: of life was, the idea of manifest destiny had kind 525 00:29:59,720 --> 00:30:04,240 Speaker 3: of sh Additionally, the rise of industrialism and a change 526 00:30:04,240 --> 00:30:07,760 Speaker 3: of focus to naval supremacy rather than conquering the wide 527 00:30:07,800 --> 00:30:10,640 Speaker 3: open West meant that art like beer Stotts was no 528 00:30:10,720 --> 00:30:14,200 Speaker 3: longer seen as majestic and inspiring, but instead sort of 529 00:30:14,280 --> 00:30:17,560 Speaker 3: quaint and old fashioned. And it was actually in this 530 00:30:17,760 --> 00:30:20,719 Speaker 3: vein that the term Hudson River School first was used 531 00:30:21,040 --> 00:30:23,719 Speaker 3: to characterize the artists that had made their names with 532 00:30:23,760 --> 00:30:26,920 Speaker 3: such art as passe and living out their lives in 533 00:30:27,000 --> 00:30:32,520 Speaker 3: retirement mansions removed from the real lives of average Americans. Yeah, 534 00:30:32,520 --> 00:30:37,800 Speaker 3: there was still plenty of like expansionism and growth and 535 00:30:37,880 --> 00:30:40,080 Speaker 3: all of that going on, but it didn't have quite 536 00:30:40,120 --> 00:30:45,480 Speaker 3: the same shiny appeal. Yeah, in the earlier decades. 537 00:30:45,640 --> 00:30:47,400 Speaker 1: Well, I feel like the people that would have been 538 00:30:47,400 --> 00:30:53,600 Speaker 1: able to afford original art moved on to industrialism instead 539 00:30:53,600 --> 00:30:56,240 Speaker 1: of going I'm going to take my chances by developing 540 00:30:56,280 --> 00:30:58,440 Speaker 1: places to the west. They were like, yeah, but I 541 00:30:58,440 --> 00:31:01,240 Speaker 1: can make a factory right here, right now, and goes 542 00:31:01,280 --> 00:31:01,600 Speaker 1: through that. 543 00:31:01,800 --> 00:31:07,080 Speaker 3: So so Albert struggled through the eighteen eighties, and the 544 00:31:07,200 --> 00:31:10,760 Speaker 3: end of the decade was especially painful. In eighteen eighty eight, 545 00:31:10,840 --> 00:31:13,600 Speaker 3: he was made a member of the Boone and Crockett Club, 546 00:31:13,680 --> 00:31:17,160 Speaker 3: which was a conservation club founded by Theodore Roosevelt in 547 00:31:17,200 --> 00:31:20,880 Speaker 3: response to the overhunting of buffalo and other big game. 548 00:31:22,080 --> 00:31:24,720 Speaker 3: This group didn't want to outlaw hunting, but it wanted 549 00:31:24,760 --> 00:31:28,000 Speaker 3: it regulated for sustainable practices to be put in place 550 00:31:28,000 --> 00:31:31,960 Speaker 3: for the sport. That same year, Beerstock painted a piece 551 00:31:32,080 --> 00:31:35,640 Speaker 3: titled The Last of the Buffalo. This image features an 552 00:31:35,640 --> 00:31:38,880 Speaker 3: indigenous man on horseback spearing a buffalo, and there are 553 00:31:39,000 --> 00:31:42,120 Speaker 3: several dead buffalo on the ground in the foreground of 554 00:31:42,160 --> 00:31:45,040 Speaker 3: the painting. The herd of them are spread around in 555 00:31:45,080 --> 00:31:48,080 Speaker 3: the background, grazing and walking through a body of water. 556 00:31:48,840 --> 00:31:50,400 Speaker 2: To the right of the painting, in. 557 00:31:50,360 --> 00:31:53,360 Speaker 3: The background, there are more men on horsebacks who have 558 00:31:53,640 --> 00:31:55,280 Speaker 3: axes and bows and arrows. 559 00:31:55,280 --> 00:31:56,560 Speaker 2: They're all on the hunt. 560 00:31:57,800 --> 00:32:00,160 Speaker 3: So while the artist may have been hoping to create 561 00:32:00,200 --> 00:32:03,040 Speaker 3: a piece of art that would raise awareness about the 562 00:32:03,160 --> 00:32:07,160 Speaker 3: dwindling number of buffalo in the West, the scene he 563 00:32:07,240 --> 00:32:11,800 Speaker 3: created made it seem like indigenous people had caused the problem. 564 00:32:12,080 --> 00:32:13,280 Speaker 2: Which was not the case. 565 00:32:14,280 --> 00:32:17,560 Speaker 3: There was an intentional effort by white people to kill 566 00:32:17,600 --> 00:32:21,040 Speaker 3: buffalo to starve the indigenous population, so this was a 567 00:32:21,160 --> 00:32:23,800 Speaker 3: very backwards way of looking at it. This is another 568 00:32:24,320 --> 00:32:28,920 Speaker 3: massive painting, the same size as Lake Lucerne, and Berstott 569 00:32:28,960 --> 00:32:31,520 Speaker 3: thought that this would be the perfect piece to send 570 00:32:31,560 --> 00:32:35,680 Speaker 3: to the eighteen eighty nine Paris Exposition, but unfortunately that 571 00:32:35,840 --> 00:32:38,760 Speaker 3: sentiment was not shared with the committee that selected art 572 00:32:38,800 --> 00:32:42,320 Speaker 3: on behalf of the US for exhibition, and Beerstott was 573 00:32:42,400 --> 00:32:45,400 Speaker 3: really hurt by this decision. A lot of the committee 574 00:32:45,440 --> 00:32:49,040 Speaker 3: members had been his old friends. But he found his 575 00:32:49,160 --> 00:32:52,840 Speaker 3: own way around it. Remember that legion of honor metal 576 00:32:53,160 --> 00:32:56,560 Speaker 3: the Napoleon the Third gave him. Because he had that, 577 00:32:56,560 --> 00:32:59,400 Speaker 3: that meant that he was entitled to show the painting 578 00:32:59,440 --> 00:33:02,520 Speaker 3: if he wanted at the Paris Salon, which he did, 579 00:33:02,680 --> 00:33:05,480 Speaker 3: so it was on display in Paris at the same 580 00:33:05,520 --> 00:33:09,440 Speaker 3: time that the Paris Expo was happening. The painting has problems, 581 00:33:09,480 --> 00:33:13,520 Speaker 3: but I do love this sort of petty workaround. In 582 00:33:13,560 --> 00:33:17,360 Speaker 3: eighteen eighty nine, Beerstatt traveled through Canada via the Canadian 583 00:33:17,400 --> 00:33:20,320 Speaker 3: Pacific Railway and then to Alaska, which was not yet 584 00:33:20,320 --> 00:33:23,840 Speaker 3: a state by steamer. He was once again in search 585 00:33:23,920 --> 00:33:27,719 Speaker 3: of material for his paintings. It seems that he recognized 586 00:33:27,720 --> 00:33:31,160 Speaker 3: that the landscapes of the western US were kind of 587 00:33:31,200 --> 00:33:33,000 Speaker 3: out of favor at this point, so he was in 588 00:33:33,040 --> 00:33:37,840 Speaker 3: search of some new terrain. The paintings Alaskan Coast Range, 589 00:33:37,920 --> 00:33:41,640 Speaker 3: Indian Encambment, Alaska, and one just titled Alaska, as well 590 00:33:41,640 --> 00:33:44,880 Speaker 3: as others, came out of this travel. They really were 591 00:33:44,920 --> 00:33:48,320 Speaker 3: not met with the demand that his previous work had enjoyed. 592 00:33:49,360 --> 00:33:52,720 Speaker 1: Then, after seventeen years of frail health and efforts to 593 00:33:52,760 --> 00:33:57,280 Speaker 1: get better, Rosalie died in eighteen ninety three. In eighteen 594 00:33:57,320 --> 00:34:00,480 Speaker 1: ninety four, Albert remarried, this time to a war named 595 00:34:00,480 --> 00:34:04,520 Speaker 1: Mary hick Stewart. She was a widow with a considerable fortune, 596 00:34:04,880 --> 00:34:08,200 Speaker 1: but that fortune did not become Beerstattz and he was 597 00:34:08,280 --> 00:34:12,360 Speaker 1: forced to declare bankruptcy. He sold all of his assets 598 00:34:12,400 --> 00:34:15,600 Speaker 1: to pay his creditors, including one hundred and fifty paintings. 599 00:34:16,360 --> 00:34:18,799 Speaker 1: Had he sold that many paintings at the height of 600 00:34:18,800 --> 00:34:21,960 Speaker 1: his career, he would have made an entirely new fortune 601 00:34:21,960 --> 00:34:25,480 Speaker 1: for himself. But by the eighteen nineties few buyers were 602 00:34:25,480 --> 00:34:28,400 Speaker 1: really interested in what was at the time considered to 603 00:34:28,400 --> 00:34:32,640 Speaker 1: be his overly theatrical style. He lived out the next 604 00:34:32,680 --> 00:34:36,560 Speaker 1: several years pretty quietly. No longer was being invited to 605 00:34:36,600 --> 00:34:39,880 Speaker 1: meet royalty, nobody wanted to pay to see his paintings 606 00:34:39,960 --> 00:34:43,919 Speaker 1: before he sold them. On February eighteenth, nineteen oh two, 607 00:34:44,040 --> 00:34:46,920 Speaker 1: Beerstatt left the Union League Club in New York and 608 00:34:46,960 --> 00:34:49,600 Speaker 1: returned to his home. He told one of his house 609 00:34:49,600 --> 00:34:52,440 Speaker 1: staff that he wasn't feeling well and asked for a stimulant. 610 00:34:53,080 --> 00:34:56,400 Speaker 1: He was found dead a short time later. Barstott was 611 00:34:56,400 --> 00:35:01,120 Speaker 1: buried in New Bedford, Massachusetts, at Rural Cemetery. So A 612 00:35:01,120 --> 00:35:04,920 Speaker 1: lot of biographies indicate that he was completely unknown by 613 00:35:04,920 --> 00:35:07,040 Speaker 1: the time he died, but that does not appear to 614 00:35:07,080 --> 00:35:11,400 Speaker 1: be entirely accurate. He had an exhibition at the Worcester 615 00:35:11,520 --> 00:35:14,080 Speaker 1: Art Museum in nineteen oh one, so a year before 616 00:35:14,080 --> 00:35:17,480 Speaker 1: he died, and on January seventh, nineteen oh two, so 617 00:35:18,360 --> 00:35:20,520 Speaker 1: just a little over a month before he died, The 618 00:35:20,560 --> 00:35:23,640 Speaker 1: Boston Transcript had a lengthy write up about his life 619 00:35:23,680 --> 00:35:27,600 Speaker 1: and career, which included fairly in depth analysis of his work, 620 00:35:27,960 --> 00:35:31,640 Speaker 1: some of which includes quote, Beerstatt is a true representative 621 00:35:31,680 --> 00:35:35,239 Speaker 1: of the Dusseldorf school in landscape. To this fact are 622 00:35:35,280 --> 00:35:39,360 Speaker 1: to be ascribed both his merits and defects. Skill prevails 623 00:35:39,360 --> 00:35:43,040 Speaker 1: over imagination in the Dusseldorf artists. They are more effective 624 00:35:43,080 --> 00:35:47,160 Speaker 1: than impressive, more clever than tender, yet with all admirably 625 00:35:47,239 --> 00:35:50,520 Speaker 1: equipped for their work. One reason for the success of 626 00:35:50,560 --> 00:35:53,680 Speaker 1: Beerstatt is that the Dusseldorf style was a novelty here, 627 00:35:53,960 --> 00:35:55,320 Speaker 1: though familiar abroad. 628 00:35:56,360 --> 00:35:58,439 Speaker 3: While he had fallen out of favor by the time 629 00:35:58,480 --> 00:36:01,359 Speaker 3: of his death, a few decades later interest in his 630 00:36:01,480 --> 00:36:04,839 Speaker 3: paintings started to revive, and today there are museums all 631 00:36:04,920 --> 00:36:07,680 Speaker 3: over the US and the world that include his art 632 00:36:08,200 --> 00:36:11,520 Speaker 3: in their permanent collections, including the Museum of Fine Arts 633 00:36:11,520 --> 00:36:14,279 Speaker 3: in Boston, the met in New York, the de Young 634 00:36:14,320 --> 00:36:17,240 Speaker 3: in San Francisco, and, as was manched under the listener 635 00:36:17,280 --> 00:36:19,239 Speaker 3: mail the Holly Red at the top of the episode, 636 00:36:19,360 --> 00:36:21,160 Speaker 3: the Denver Art Museum. 637 00:36:21,640 --> 00:36:25,560 Speaker 1: Okay, so now it is time for the Lake Lucerne coda. 638 00:36:25,640 --> 00:36:28,640 Speaker 1: As we mentioned earlier, that painting was not in Hezekiah 639 00:36:28,719 --> 00:36:32,480 Speaker 1: Konan's belongings when he died, and there was no indication 640 00:36:32,680 --> 00:36:35,399 Speaker 1: at the time as to where that giant painting may 641 00:36:35,440 --> 00:36:40,360 Speaker 1: have gone. Cut to nineteen ninety when a woman named 642 00:36:40,400 --> 00:36:44,560 Speaker 1: Pearl Rose, who lived in Exeter, Rhode Island, died. The 643 00:36:44,640 --> 00:36:48,040 Speaker 1: painting was inherited by one of her relatives named Lewis Peck, 644 00:36:48,360 --> 00:36:51,560 Speaker 1: who then shared the news that the missing Beerstott was found. 645 00:36:52,360 --> 00:36:56,320 Speaker 1: It had never really been lost. Missus Rose's first husband, 646 00:36:56,320 --> 00:37:00,239 Speaker 1: William Sunderland, purchased a painting from Connet in eighteen ninety 647 00:37:00,480 --> 00:37:03,280 Speaker 1: and it had stayed in the family for one hundred years. 648 00:37:03,920 --> 00:37:06,399 Speaker 1: And apparently this family owned a lot of high end 649 00:37:06,520 --> 00:37:09,640 Speaker 1: art and chose to keep that fact private lest art 650 00:37:09,640 --> 00:37:12,839 Speaker 1: thieves target their collection. That seems to make a lot 651 00:37:12,880 --> 00:37:16,360 Speaker 1: of sense. One would think that the size of this 652 00:37:16,480 --> 00:37:19,239 Speaker 1: piece would have alerted someone, because apparently it was so 653 00:37:19,520 --> 00:37:22,000 Speaker 1: large that a portion of the roof had to be 654 00:37:22,040 --> 00:37:25,560 Speaker 1: lifted off of the Exeter home to get it moved in. Initially, 655 00:37:26,160 --> 00:37:28,640 Speaker 1: this painting was sold a few months later after this 656 00:37:28,760 --> 00:37:31,680 Speaker 1: news broken. Nineteen ninety for a little more than half 657 00:37:31,719 --> 00:37:35,000 Speaker 1: a million dollars. It was purchased by an art dealer 658 00:37:35,080 --> 00:37:37,640 Speaker 1: named Richard Yorke. He was the agent of the National 659 00:37:37,680 --> 00:37:40,360 Speaker 1: Gallery of Art. That purchase was made possible by the 660 00:37:40,400 --> 00:37:43,600 Speaker 1: financial backing of Richard m scaife and Margaret ar Battle, 661 00:37:43,640 --> 00:37:47,280 Speaker 1: and it remains in the National Gallery of Art collection today. 662 00:37:47,920 --> 00:37:50,200 Speaker 1: So it's kind of an interesting way to look at 663 00:37:50,239 --> 00:37:53,240 Speaker 1: how his career went sky high while he was alive, 664 00:37:53,440 --> 00:37:56,440 Speaker 1: then fell off people thought he was outdated, and then 665 00:37:56,640 --> 00:38:01,560 Speaker 1: his painting was sold for half a million dollars. Everything 666 00:38:01,640 --> 00:38:04,920 Speaker 1: is cyclical. Since we did listener mail at the top 667 00:38:04,960 --> 00:38:07,319 Speaker 1: of the episode, I won't do one here, but we 668 00:38:07,400 --> 00:38:10,560 Speaker 1: have a lot of fun ones coming up, and I 669 00:38:10,600 --> 00:38:12,600 Speaker 1: will just say if you would like to write to 670 00:38:12,680 --> 00:38:15,160 Speaker 1: us about this or anything else, you can do so 671 00:38:15,239 --> 00:38:19,000 Speaker 1: at History Podcast at iHeartRadio dot com. You can also 672 00:38:19,040 --> 00:38:21,880 Speaker 1: subscribe to the show on the iHeartRadio app or anywhere 673 00:38:21,920 --> 00:38:25,359 Speaker 1: you listen to your favorite shows. 674 00:38:29,160 --> 00:38:32,280 Speaker 3: Stuff you Missed in History Class is a production of iHeartRadio. 675 00:38:32,640 --> 00:38:37,239 Speaker 3: For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts, 676 00:38:37,360 --> 00:38:41,279 Speaker 3: or wherever you listen to your favorite shows.