Art and Artifacts
The 1857 architectural plans did not include a clear vision for new works of art in the Chamber. Although the George Washington and Marquis de Lafayette portraits came along when the Representatives moved in from the previous meeting space, the rest of the walls were left in flux.
Constantino Brumidi's Fresco
Although original to the space, the painting was never popular. Complaints ranged from assertions that the subject was inappropriate for the legislative Chamber, to quibbles about the style or national origin of the painter. It was painstakingly removed from the Chamber in 1972, and lowered by crane outside the building for installation in the House Restaurant on the first floor of the Capitol.
Albert Bierstadt's Landscapes
About this object This stereoview of the House Chamber from 1898 illustrates portraits of George Washington and the Marquis de Lafayette surrounding the rostrum while Bierstadt's landscape of the Hudson River and Brumidi's fresco hang on the right side of the room.
Unlike the supervising engineer, American artists took a keen interest in what paintings would complement the Chamber’s décor. The House, though, showed reluctance about acquiring art. After the bulk of the Capitol’s decoration was completed by an Italian artist, working in what some considered an unsuitably European style, artists and Members alike became increasingly vocal about the importance of the legislative branch patronizing American artists, working in styles popular in America. In the 19th century, this meant landscapes.
Albert Bierstadt, a German-born, American-raised painter known for his large-scale, highly detailed landscapes of the American West—was the one to finally convince the House to acquire new pieces for the Chamber. He began his campaign for a commission in 1866, and the following year, Representative Nathaniel Banks successfully sponsored a resolution directing the artist to produce two works “thoroughly American in character, representing some prominent feature of scenery or important event in the discovery of America.”
About this object Albert Bierstadt, Discovery of the Hudson River
Although Congress supported the theory of showcasing American art by American artists, deciding on funds to pay for such paintings was another matter. The resolution did not include an appropriation of money to complete the works. Several years of fruitless lobbying passed. In 1874, though, the artist decided on more drastic measures. Bierstadt arranged to temporarily exhibit two paintings in the House Chamber, even working on one of the canvases while Congress was in session. On March 3, 1875, the stunt paid off, and the House finally agreed to pay him for one of the paintings, Discovery of the Hudson River. This work combined the artist’s signature—large-scale landscape with specific local detail—with a historic moment, in this case, Henry Hudson’s exploration of the New York waterway that later bore his name.
About this object Albert Bierstadt, Entrance into Monterey
Both landscapes remained in the Chamber until 1901. After occupying several locations around the Capitol, they are currently on view in the grand stairwell on the East Front of the Capitol.