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Lot Essay
The unique landscapes of the Yellowstone region captivated American audiences during the latter half of the 19th century. Capitalizing on this fascination, Thomas Moran wholly committed himself to recreating literally and artistically the area’s distinct beauty. His dedication to this subject matter not only established Moran as one of the most popular artists of his generation, but also led to the area’s permanent preservation in the form of Yellowstone National Park. Rendered with exquisite detail, powerful color variation and dramatic atmospheric effect, The Southern Arm of the Yellowstone Lake, Yellowstone National Park, Wyoming Territory ranks amongst the most important early contributions to both environmental conservation and the cultural patrimony of our nation.
Curious to see the Yellowstone territory firsthand, in 1871 Moran secured sponsorship to set out for Virginia City, Montana, to join the United States Geological Survey of Dr. Ferdinand V. Hayden. Traveling by horseback through Southern Montana and Northeastern Wyoming, the expedition explored spectacular natural wonders, including the Upper and Lower Falls of the Yellowstone, Yellowstone Lake and, ultimately, the Upper and Lower Geyser Basins of the Firehole River. Accompanying the photographer William Henry Jackson, with whom Moran frequently worked, the artist often lagged behind the group, wandering afield to dash off sketches of the majestic vistas. After fully exploring these new landscapes, Moran raced home with the spoils of his trip to create finished compositions in his East Coast studio.
The hurried field studies Moran completed in Yellowstone—often with little detail other than contour lines and numerous annotations—together with Jackson’s photographs, provided the artist with reference for some of his most accomplished watercolors and paintings. Following an interview Moran gave shortly thereafter his Yellowstone travels to The Newark Daily Advertiser, the reporter commented, “Mr. Moran says he could only describe it as a country bespattered with rainbows. It seemed unreally strange, like a dream-land, and he could hardly believe at times that he was not in a dream instead of an exploring expedition…It is a very happy fortune that his terra incognita is to be introduced to the eyes of men by an artist of Mr. Moran's extraordinary genius for natural scenery.” (as quoted in N. K. Anderson, Thomas Moran, Washington, D.C., 1997, p. 52)
Moran’s “genius” sketches, watercolors and oil paintings of the Yellowstone region were instrumental in Congress’ decision to make the area America’s first National Park. As fellow Hayden Survey explorer and photographer William Henry Jackson recalled, “the watercolors of Thomas Moran and [Jackson’s] photographs of the Geology Survey were the most important exhibits brought before the Committee…They did a work which no other agency could do and doubtless convinced everyone who saw them that the regions where such wonders existed should be carefully preserved for the people forever.” (as quoted in N.K. Anderson, Thomas Moran, p. 53)
The present work was commissioned by Louis Prang for his 15-part folio of chromolithograph reproductions of Yellowstone National Park in 1876. Titled The Yellowstone National Park, and The Mountain Regions of Portions of Idaho, Nevada, Colorado, and Utah and printed with accompanying expedition maps and commentary text on the geography by Hayden, the folio was a stunning commercial success. A fervent entrepreneur and businessman, Prang built a successful lithography business and come 1873 was ready to produce a publication featuring the American West which led to his collaboration with Moran. Working with Prang on a range of subjects, Moran sketched out suggestions in the margins, even asking “Shall I give you a geyser?” in one example. (as quoted in C. Clark, Thomas Moran: Watercolors of the American West, Austin, Texas, 1980, p. 45). Moran completed twenty-four total works for Prang, of which Prang used fifteen for the publication. Given its widespread reproduction via Prang, The Southern Arm of the Yellowstone Lake, Yellowstone National Park, Wyoming Territory was a foundational image in establishing widespread public interest in the region which led to further conservation initiatives in the area.
Brilliantly rendered with crisp forms and bright, aquamarine blues, Moran executed the present work with extremely delicate gradations of tone and careful, precise renderings of topography. Adhering to the principle of careful observation of nature, he captured the various elements of the awe-inspiring territory—the snow-capped mountains, soaring fir trees, jagged rocks, crystalline water, birds in formation, dramatic sky and magnificent rainbow. Building on the intensity of Moran’s visual representation, Hayden dedicated considerable prose to the scene for the folio: “[Yellowstone Lake] covers an area of about one hundred and twenty-five square miles, being about twenty miles long in its greatest length, and fifteen miles wide across the widest part…From whatever point the lake is viewed, a scene of beauty will repay the observer. The student of science, the lover of nature, and the artist can all find something of interest on its shores.” (as quoted in Thomas Moran, p. 338)
In addition, a note on the reverse of the present work by the artist reads: “The Yellowstone Lake at the Head of the Yellowstone River is a magnificent sheet of water & the highest lake in N. America. Being nearly 8000 feet above the sea. It has an average breadth of 20 miles & is enclosed by the Rocky Other fees apply in addition to the hammer price- see the Conditions of Sale at the back of the Sale Catalogue Mountains, whose peaks retain perpetual snow. Placed in the midst of a great volcanic basin, it was probably the Great Crater in ages past. It has a depth of 400 feet. Great systems of hot springs are still active on the very surface of the lake, & even under its waters, the Calcaneous deposits of which constantly make encroachments on its boundaries. A great variety of wild animals & game make it a hunter’s paradise. Several islands dot its surface giving additional charm to the eye. The Great Geyser Basins lie but fourteen miles to the Northwest of the Lake.”
As epitomized by the present work, Moran's Western watercolors are not only unrivaled in their technique and skill, but they also transport the viewer in such a magical way that it is unsurprising they inspired the American government's decision to set aside natural land for the eternal benefit of its citizens. Through their reproduction via lithography, these special works brought the American West into the homes of its citizens, and in doing so, united the young nation through pride. Broadly admired both in Moran’s time and in ours, Moran’s impressions of Yellowstone remain one of the most historically significant and visually compelling series of American art.
Curious to see the Yellowstone territory firsthand, in 1871 Moran secured sponsorship to set out for Virginia City, Montana, to join the United States Geological Survey of Dr. Ferdinand V. Hayden. Traveling by horseback through Southern Montana and Northeastern Wyoming, the expedition explored spectacular natural wonders, including the Upper and Lower Falls of the Yellowstone, Yellowstone Lake and, ultimately, the Upper and Lower Geyser Basins of the Firehole River. Accompanying the photographer William Henry Jackson, with whom Moran frequently worked, the artist often lagged behind the group, wandering afield to dash off sketches of the majestic vistas. After fully exploring these new landscapes, Moran raced home with the spoils of his trip to create finished compositions in his East Coast studio.
The hurried field studies Moran completed in Yellowstone—often with little detail other than contour lines and numerous annotations—together with Jackson’s photographs, provided the artist with reference for some of his most accomplished watercolors and paintings. Following an interview Moran gave shortly thereafter his Yellowstone travels to The Newark Daily Advertiser, the reporter commented, “Mr. Moran says he could only describe it as a country bespattered with rainbows. It seemed unreally strange, like a dream-land, and he could hardly believe at times that he was not in a dream instead of an exploring expedition…It is a very happy fortune that his terra incognita is to be introduced to the eyes of men by an artist of Mr. Moran's extraordinary genius for natural scenery.” (as quoted in N. K. Anderson, Thomas Moran, Washington, D.C., 1997, p. 52)
Moran’s “genius” sketches, watercolors and oil paintings of the Yellowstone region were instrumental in Congress’ decision to make the area America’s first National Park. As fellow Hayden Survey explorer and photographer William Henry Jackson recalled, “the watercolors of Thomas Moran and [Jackson’s] photographs of the Geology Survey were the most important exhibits brought before the Committee…They did a work which no other agency could do and doubtless convinced everyone who saw them that the regions where such wonders existed should be carefully preserved for the people forever.” (as quoted in N.K. Anderson, Thomas Moran, p. 53)
The present work was commissioned by Louis Prang for his 15-part folio of chromolithograph reproductions of Yellowstone National Park in 1876. Titled The Yellowstone National Park, and The Mountain Regions of Portions of Idaho, Nevada, Colorado, and Utah and printed with accompanying expedition maps and commentary text on the geography by Hayden, the folio was a stunning commercial success. A fervent entrepreneur and businessman, Prang built a successful lithography business and come 1873 was ready to produce a publication featuring the American West which led to his collaboration with Moran. Working with Prang on a range of subjects, Moran sketched out suggestions in the margins, even asking “Shall I give you a geyser?” in one example. (as quoted in C. Clark, Thomas Moran: Watercolors of the American West, Austin, Texas, 1980, p. 45). Moran completed twenty-four total works for Prang, of which Prang used fifteen for the publication. Given its widespread reproduction via Prang, The Southern Arm of the Yellowstone Lake, Yellowstone National Park, Wyoming Territory was a foundational image in establishing widespread public interest in the region which led to further conservation initiatives in the area.
Brilliantly rendered with crisp forms and bright, aquamarine blues, Moran executed the present work with extremely delicate gradations of tone and careful, precise renderings of topography. Adhering to the principle of careful observation of nature, he captured the various elements of the awe-inspiring territory—the snow-capped mountains, soaring fir trees, jagged rocks, crystalline water, birds in formation, dramatic sky and magnificent rainbow. Building on the intensity of Moran’s visual representation, Hayden dedicated considerable prose to the scene for the folio: “[Yellowstone Lake] covers an area of about one hundred and twenty-five square miles, being about twenty miles long in its greatest length, and fifteen miles wide across the widest part…From whatever point the lake is viewed, a scene of beauty will repay the observer. The student of science, the lover of nature, and the artist can all find something of interest on its shores.” (as quoted in Thomas Moran, p. 338)
In addition, a note on the reverse of the present work by the artist reads: “The Yellowstone Lake at the Head of the Yellowstone River is a magnificent sheet of water & the highest lake in N. America. Being nearly 8000 feet above the sea. It has an average breadth of 20 miles & is enclosed by the Rocky Other fees apply in addition to the hammer price- see the Conditions of Sale at the back of the Sale Catalogue Mountains, whose peaks retain perpetual snow. Placed in the midst of a great volcanic basin, it was probably the Great Crater in ages past. It has a depth of 400 feet. Great systems of hot springs are still active on the very surface of the lake, & even under its waters, the Calcaneous deposits of which constantly make encroachments on its boundaries. A great variety of wild animals & game make it a hunter’s paradise. Several islands dot its surface giving additional charm to the eye. The Great Geyser Basins lie but fourteen miles to the Northwest of the Lake.”
As epitomized by the present work, Moran's Western watercolors are not only unrivaled in their technique and skill, but they also transport the viewer in such a magical way that it is unsurprising they inspired the American government's decision to set aside natural land for the eternal benefit of its citizens. Through their reproduction via lithography, these special works brought the American West into the homes of its citizens, and in doing so, united the young nation through pride. Broadly admired both in Moran’s time and in ours, Moran’s impressions of Yellowstone remain one of the most historically significant and visually compelling series of American art.