Harrison Bird Brown (1831-1915) stands as a significant figure in nineteenth-century American art, celebrated primarily for his evocative landscape and marine paintings. Born and initially based in Portland, Maine, Brown dedicated much of his artistic career to capturing the distinct natural beauty of his home state, particularly the rugged coastline of Casco Bay and the majestic scenery of the White Mountains of New Hampshire. His work resonated with the era's deep appreciation for the American landscape, earning him considerable acclaim during his lifetime.
Brown's journey into the art world was not straightforward. Born in Portland, Maine, in 1831, he faced adversity early on, becoming an orphan at a young age. This circumstance led him to an apprenticeship with a local company specializing in house and ship painting. This practical training likely provided him with foundational skills in handling pigments and materials, even if focused on decorative rather than fine art. However, Brown's artistic aspirations soon led him beyond this trade.
Driven by a passion for fine art, Brown eventually established his own artistic enterprise. Initially, his work included creating banners and signs, common starting points for aspiring artists of the time. He even ran a gallery space known intriguingly as "Signs and Splendors," where he not only sold his fine art but also offered services like "oil painting polishing" and decorative painting techniques imitating wood and marble grain. This blend of commercial and fine art practice highlights the practical necessities faced by artists outside major metropolitan centers.
Transition to Landscape and Early Recognition
Brown's focus quickly shifted towards landscape painting, the genre that would define his career. He was drawn to the power and beauty of the natural world, a sentiment shared by many artists of his generation, often associated with the Hudson River School ethos pioneered by figures like Thomas Cole and Asher B. Durand. Brown began exhibiting his works more formally, marking his entry into the broader American art scene.
A significant step came in 1858 when he started showing his paintings at the prestigious National Academy of Design in New York City. This exposure was crucial for gaining recognition beyond his local sphere. Further validation came with exhibitions at the Boston Athenaeum in 1860 and 1863. Notably, during this period, he was reportedly the only Maine-based artist whose work was displayed at the Athenaeum, underscoring his rising status and the quality of his art.
The 1860s and early 1870s marked the zenith of Brown's popularity. His depictions of Maine's natural scenery, particularly the intricate coastline of Casco Bay and the dramatic vistas of the White Mountains, found favor among an increasingly affluent clientele eager to adorn their homes with scenes of American nature. His success during this period reflects the burgeoning market for landscape painting, fueled by national pride, romantic ideals about wilderness, and growing tourism.
Capturing the White Mountains
The White Mountains of New Hampshire were a powerful magnet for American landscape painters throughout the 19th century, and Harrison Bird Brown was no exception. This region, with its dramatic peaks, deep valleys (or "notches"), and picturesque lakes, offered the kind of sublime and beautiful scenery that artists sought to capture. Brown joined a fraternity of artists who trekked to the area, including renowned figures like Benjamin Champney, often considered the "dean" of the White Mountain painters, Albert Bierstadt, known for his monumental Western landscapes but also active in New England, and Hudson River School masters like Sanford Robinson Gifford and John Frederick Kensett.
Brown's White Mountain paintings, particularly those created later in his career during the 1890s, are noted for their detailed rendering and sensitivity to atmospheric effects. He painted iconic locations, contributing to the visual mythology of the region. One specific commission highlights his connection to the area: he created illustrations of the famed Crawford Notch for the Maine Central Railroad. This work served a promotional purpose, linking the appreciation of scenic beauty with the expansion of railway tourism, a common intersection of art and commerce in the era.
Compared to the sometimes overtly dramatic or grandiose canvases of Bierstadt, Brown's White Mountain scenes often possess a more intimate, though still majestic, quality. His style, while detailed, aimed to convey the specific character and mood of the landscape. He shared with artists like Kensett and Jasper Francis Cropsey an interest in the effects of light and atmosphere, though perhaps with less emphasis on the specific tenets of Luminism than Kensett or Fitz Henry Lane. His contributions solidified his place within the rich tradition of White Mountain art.
Master of the Maine Coast
While the White Mountains offered dramatic inland scenery, it was perhaps the coast of Maine, particularly Casco Bay near his Portland home, that became Brown's most enduring subject. He developed a profound connection to this maritime environment, capturing its varied moods from tranquil harbors to storm-tossed shores. His marine paintings are characterized by careful observation of water, rock formations, and the distinctive light of the Maine coast.
His depictions of Casco Bay, with its numerous islands and intricate shoreline, showcase his skill in rendering water reflections, the textures of granite cliffs, and the interplay of sea and sky. These works often feature sailing vessels, reflecting the maritime economy and culture of the region, but the primary focus remains the natural environment itself. Brown's approach was generally realistic, grounded in direct observation, yet imbued with a romantic sensibility that emphasized the beauty and sometimes the raw power of the sea.
Brown also painted scenes of Monhegan Island, a remote and rugged island off the Maine coast that has long attracted artists. His depictions of Monhegan's dramatic headlands and crashing surf were described by contemporaries as conveying "awesome power." In these works, Brown explored the sublime aspects of nature, a theme prevalent in 19th-century art and literature, reflecting humanity's relationship with the untamed forces of the natural world. While perhaps less focused on the serene, light-filled stillness associated with Luminist painters like Fitz Henry Lane, Brown's coastal scenes share an intensity of observation and a deep feeling for place, comparable in spirit to marine specialists like William Trost Richards or Alfred Thompson Bricher. His dedication to the Maine coast helped define its artistic representation.
Artistic Style and Themes
Harrison Bird Brown's artistic style is generally characterized by its detailed realism, combined with a sensitivity to color and atmosphere. His technique involved careful drawing and meticulous rendering, ensuring topographical accuracy while simultaneously evoking the emotional resonance of the scene. His use of color was often vivid and lively, particularly during his peak period in the 1860s and 70s, capturing the specific hues of Maine's forests, waters, and skies.
His paintings often reflect the prevailing 19th-century American attitude towards nature – a blend of reverence, national pride, and an appreciation for its aesthetic qualities. The landscapes are typically presented as grand and enduring, sometimes incorporating small human figures or elements like boats or distant houses to provide scale and suggest humanity's place within the larger natural order. This aligns with broader themes found in the works of the Hudson River School and related landscape traditions, where nature was often seen as a source of spiritual renewal and national identity.
While not strictly adhering to the Luminist style defined by artists like Lane or Kensett, known for their smooth surfaces, emphasis on horizontal compositions, and pervasive, tranquil light, Brown's work sometimes shares certain qualities. He paid close attention to the effects of light and atmosphere, particularly in his coastal scenes, capturing the reflective qualities of water and the subtle gradations of light in the sky. His detailed approach, however, often retained more texture and incident than typical Luminist works. His style remained largely consistent throughout his career, rooted in careful observation and skilled execution.
Career Success and Later Life
Brown achieved considerable success as a professional artist. His Portland gallery served as a base for sales and commissions, and his participation in major national exhibitions brought his work to a wider audience. His paintings were acquired by collectors who appreciated his faithful and appealing depictions of beloved New England scenery. The commission from the Maine Central Railroad for the Crawford Notch illustrations further cemented his reputation and linked his art to the promotion of regional tourism.
His standing within the Maine art community was significant. He was involved with local art organizations, reportedly serving as president of the Portland Society of Art (possibly referred to as the Portland Art Association in some sources) in 1893. He also played a role as an educator, attracting students who sought to learn from his expertise. Among his pupils were the notable sculptor Franklin Simmons, who achieved international recognition, and the animal painter Scott Leighton, indicating Brown's influence extended beyond landscape painting.
In 1892, Brown made a significant life change, relocating to London, England, to live with his daughter. This move marked a departure from the New England landscapes that had been the cornerstone of his art. While he reportedly continued to paint, his later years were spent away from the source of his primary inspiration. Harrison Bird Brown passed away in London in 1915, leaving behind a substantial body of work celebrating the natural beauty of his native region. His contemporary, Winslow Homer, also famously captured the Maine coast, though with a different, more dramatic and often figure-focused style. Other contemporaries like George Inness were moving towards a more Tonalist aesthetic, contrasting with Brown's clearer realism.
Legacy and Collections
Harrison Bird Brown's legacy rests on his contribution to American landscape and marine painting, particularly his role as a key artistic interpreter of Maine and the White Mountains in the latter half of the 19th century. His work provides valuable visual documentation of these regions during a period of significant cultural and environmental change. His detailed, realistic, yet evocative style appealed greatly to his contemporaries and continues to be appreciated for its skill and sensitivity.
His paintings are held in the permanent collections of several important institutions, ensuring their preservation and accessibility for future generations. Notable collections include the Portland Museum of Art in his native city, the Colby College Museum of Art in Waterville, Maine, and the Bowdoin College Museum of Art in Brunswick, Maine. These holdings reflect his strong regional identity and his importance within the history of Maine art.
While perhaps not as widely known today as the very top tier of Hudson River School painters like Frederic Edwin Church or Albert Bierstadt, Harrison Bird Brown remains a respected figure. His work is studied for its artistic merit, its representation of specific American landscapes, and its connection to the broader cultural currents of the 19th century. He stands as a testament to the rich artistic activity that flourished outside major art centers, capturing the unique character of New England with dedication and skill, alongside artists like Aaron Draper Shattuck and Worthington Whittredge who also explored these landscapes. His dedication to his craft and his chosen subjects left an indelible mark on the tradition of American landscape painting.
