First Look at the Gorge Fire

Posted September 12, 2017 by Tom Kloster
Categories: Cultural History, Natural History

Tags: , , , , , , , , , , , ,
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Eagle Creek Fire during the initial, explosive phase (US Forest Service)

Officially the Eagle Creek Fire in the Columbia River Gorge is still fully involved, now at 35,000 acres and just 10 percent contained by firefighters. Rain in the forecast for the coming week suggests that the fire will continue to slow as October approaches, and our attention will turn toward the changes that fire has once again brought to the Gorge.

The Gorge is a second home for many of us, and in some ways the fire was akin to watching our “home” burn. But that’s a human perspective that we should resist over the long term if we care about the ecological health of the Gorge. Fire is as natural and necessary as the rain in this amazing place, though that’s a truth that we have been conditioned to resist. I’ll post more on that subject in a subsequent article.

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Surreal Gorge landscape under smoky skies from the Eagle Creek Fire (US Forest Service)

For now, we’re just beginning to learn about the impact of the fire, even as it continues to burn. Thankfully, no lives have been lost, no serious injuries reported and very few structures have been lost. That’s a testament to our brave emergency responders (many of them volunteers) and the willingness of most Gorge residents to abide by evacuation orders. It has surely been a frightening and stressful time for those who call the Gorge home.

The impact on public lands is still largely unknown, but the Oregon side of the Columbia River Gorge has one of the most concentrated, most heavily used trail systems in the world, and the damage to trails is likely to be significant. The Forest Service is likely to close affected trails for months or even years in order to assess the damage and determine how best to restore them.

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1930s hiker at a viewpoint along the Perdition Trail (with Multnomah Falls beyond)

If you’ve lived here for awhile, you’ll also recall that we lost the Perdition Trail, an iconic, prized connection between Wahkeena Falls and Multnomah Falls, to the 1991 Multnomah Falls Fire. The reasons were complex, and it will tempting for the Forest Service to let some trails go, given their shrinking trail crews. We should not allow this to happen again.

Every trail should be restored or re-routed, and new trails are also needed to spread out the intense recreation in the Gorge. Trails advocates will need to work together to ensure this. Trailkeepers of Oregon (TKO) has set up a mailing list dedicated to Gorge trail restoration, if you’re interested in working on future volunteer projects. You can sign up for periodic updates and events here.

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On September 10, I drove SR 14 on the Washington side of the Gorge for my first look at the fire, starting in Hood River. Below each of the following annotated photos, I’ve linked to much larger versions that I encourage you to view if you’re reading this on a large monitor, as they provide a better sense of the fire’s impact.

As hoped, much of the burn is in a patchy “mosaic” pattern, a healthy and desirable outcome for the ecosystem. This is how fires used to occur in our forests, before a century of suppression began in the early 1900s. Mosaic burns allow for mixed forest stands and exceptional wildlife habitat to evolve, even as we might mourn the loss of familiar green forests.

The wind pattern on Sunday had shifted from westerly to a northwesterly direction, producing a bizarre effect: smoke from the fire hugged the vertical wall that is the Oregon side of the Gorge, while the Washington side was cleared of smoke and under a bright blue sky. The view, below, shows this split-screen effect from near Wind Mountain.

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(Click here for a large view)

Moving west, the combination of ongoing wildfire and back-burning by firefighters was producing a continuous plume along the base of the Oregon cliffs, from Herman Creek east to Shellrock Mountain, as seen below. The Pacific Crest Trail traverses this section, and is undoubtedly affected by the fire.

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(Click here for a large view)

From the Bridge of the Gods wayside, opposite Cascade Locks, the impact of the fire on the canyons that fan out from Benson Plateau is visible. Some areas (below) show a healthy mosaic burn, while some of the upper slopes show wider swaths of forest impacted. The alarming proximity of the fire to the town of Cascade Locks is also evident in the scorched trees visible just above the bridge in this view. This was a close call for those who live here.

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(Click here for a large view)

Turning further to the east from the Bridge of the Gods wayside (below), the ongoing wildfire and back-burning shown in the previous photos can be seen in the distance, beyond the town of Cascade Locks.

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(Click here for a large view)

The scene at the Bridge of the Gods bridgehead (below) is an ongoing reminder that we’re a long way from life returning to normal for Cascade Locks residents. For now, I-84 remains closed and this is the only route into town, and only open to those with proof of residency.

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(Click here for a large view)

Moving further west, the 2000-foot wall of cliffs in the St. Peters Dome area that stretches from McCord Creek to Horsetail Creek (below) come into view.

Here, the fire has also burned in mosaic pattern, with many patches of green forest surviving. But the frightening effects of the firestorm that occurred in the first days of the fire is also evident, with isolated trees on cliffs hundreds of feet above the valley floor ignited by the rolling waves of burning debris that were carried airborne in the strong winds that initially swept the fire through the Gorge.

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(Click here for a large view)

A second view (below) of the St. Peters Dome area shows the burn extending toward Nesmith Point, nearly 4,000 vertical feet above the Gorge floor.

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(Click here for a large view)

Moving west along SR 14 to the viewpoint at Cape Horn, the impact of the fire on areas west of Horsetail Falls comes into view (below), along with a better sense of the mosaic pattern of the burn. This view shows the Horsetail Creek trail to be affected by the first, as well as the slopes on both sides of Oneonta Gorge.

In this earlier piece on Oneonta Gorge, I described the dangerous combination of completely unmanaged visitor access and an increasingly dangerous logjam at the mouth of the Gorge. The fire will almost certainly trigger a steady stream of new logs rolling into Oneonta Gorge and adding to the massive logjam in coming years.

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(Click here for a large view)

Moving further west, the area surrounding iconic Multnomah Falls and Wahkeena Falls comes into view (below). As with other areas, the fire burned in vertical swaths along the Gorge face, leaving more mosaic patterns in the burned forest. From this view, trees along the popular 1-mile trail from Multnomah Falls Lodge to the top of the falls looks to be affected by the fire, as are forests above Wahkeena Falls.

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(Click here for a large view)

This wide view looking east from above Cape Horn (below) shows most of the western extent of the fire, with the north-facing slopes of Angels Rest heavily burned, while the west and south-facing slopes were less affected.

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(Click here for a large view)

A closer look at Angels Rest shows that the burned area in the current fire closely matches the area that burned in the 1991 (below), along with slopes on the opposite side of Coopey Falls. The Angels Rest Trail was heavily impacted by the 1991 fire, and will clearly need to be restored after this fire, as well.

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(Click here for a large view)

I’ve marked an approximation of the 1991 fire extent at Angels Rest in this closer look (below) at the summit of Angels Rest, based on tree size. Tall conifers burned in today’s Eagle Creek fire survived the 1991 fire, and mark the general margins of that earlier fire.

Areas within the 1991 burn were still recovering and consisted largely of broadleaf trees, like Bigleaf and Vine maple. Depending on the heat of the fire and whether their roots survived, these broadleaf trees may be quick to recover, sprouting from the base of their killed tops as early as next spring.

The recurring fires at Angels Rest offer an excellent case study for researchers working to understand how natural wildfires behave in successive waves over time. This, in turn, could help Gorge land managers and those living in the Gorge better plan for future fires.

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(Click here for a large view)

Finally, a look (below) at the western extent of the fire shows a few scorched areas in Bridal Veil State Park, including the forest around the Pillars of Hercules. Bridal Veil Canyon appears to have escaped the burn, though some trees near Bridal Veil Falls may have burned.

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(Click here for a large view)

I’ve titled this article as my “first look” because the story of the Eagle Creek fire is still being written. Only after the fall rains arrive in earnest will we have a full sense of the scale of the fire.

As new chapters in the Eagle Creek saga unfold, I’ll continue to post updates and share perspectives on this fire and our broader relationship with fire as part of the natural systems that govern our public lands. With each new fire in close proximity to Portland, we have the opportunity to expand and evolve how we think about fire, and hopefully how we manage our public lands in the future.

More to come…

TKO’s 10th Anniversary at Owl Point

Posted August 31, 2017 by Tom Kloster
Categories: Blog News, Cultural History, Trips

Tags: , , , , , , , ,
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Mount Hood from Owl Point

Ten years ago, on September 22, 2007, Trailkeepers of Oregon (TKO) was borne out of an ad-hoc effort by a group of volunteers to save what is now known as the Old Vista Ridge Trail. On September 10 of this year, TKO will be celebrating our anniversary with (naturally!) a day of trailkeeping on the Old Vista Ridge Trail.

But this day will be a first for TKO, as we will have U.S. Forest Service officials on hand to formally re-dedicate the trail, bringing it out of the shadows and officially recognized are more than half a century. Of course, there will be some celebrating at Owl Point to wrap up the festivities, too!

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(Click here for a larger map)

The Old Vista Ridge Trail is a true gem. It winds through subalpine forests past a string of dramatic views, sprawling talus slopes and tiny meadows before arriving at Owl Point, the star attraction along the old route. Owl Point offers an exquisite view of our favorite mountain, and from a unique perspective that is surprisingly uncommon, even to longtime Mount Hood lovers.

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This sign once marked the start of the Old Vista Ridge Trail

Under a new agreement with the Forest Service, TKO will maintain the Old Vista Ridge Trail in perpetuity as part of bringing it back into the official USFS trail system. The first phase of this adoption agreement extends to Alki Point, one stop beyond Owl Point, where the big Washington volcanoes spread out on the northern horizon. In the future, TKO has plans to adopt the rest of the old trail to tiny Perry Lake, and also to build a new connector trail that will eventually make Owl Point a destination that can be reached from Laurance Lake, just a few miles from Parkdale.

Here’s a look back to how the Old Vista Ridge Trail came on to TKO’s radar, or more accurately, how this old trail inspired the volunteers who would come to form TKO.

Following a Faint Path in 2006

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The author visiting with the incomparable Roberta Lowe!

The Old Vista Ridge story starts with epic field guide authors Don and Roberta Lowe. I can’t begin to describe the impact their classic books had on my life growing up in Oregon, and I was stunned when they answered a letter I wrote to them as a student way back in the 1980s, ans was working on a field guide project of my own.

Today, I’m happy to report that I meet with Roberta Lowe periodically for lunch, and I continue to embarrass her by bringing along stacks of their books for autographs every time we get together (I have dozens… sorry, Roberta!). One of their books holds the key to Old Vista Ridge. It’s this one:

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This is the most collected of the Lowe’s many books

The Lowes published the now-coveted “50 Hikes” guide in the mid-1980s, and it was unique in that it contained several “lost trails” in Mount Hood country — old routes that hadn’t been maintained in years and were on the brink of becoming forever lost to neglect.

One of these lost gems was the Old Vista Ridge Trail. Don Lowe’s photo of Mount Hood from Red Hill, the off-trail cinder cone that was the main destination in their description of Old Vista Ridge stuck in my mind for two decades before I finally made the effort to explore this old route in 2006.

Red Hill can be seen from the Timberline Trail, and as I planned the hike from this high perspective in the summer of 2006, I also noticed a series of rocky outcrops and meadows near Red Hill, along the Old Vista Ridge Trail. Where these viewpoint accessible from the old trail, too?

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Looking toward Red Hill and Owl Point from the Timberline Trail (Mt. St. Helens on the horizon)

On October 6, 2006, hiking partner and fellow photographer Greg Lief joined me for a first trip along the Old Vista Ridge Trail. At first, the faint trail was encouraging: lots of downfall, but also sections that were completely intact after more than 40 years of neglect.

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Greg Lief on the Old Vista Ridge Trail in 2006

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Hundreds of logs blocked the trail in 2006

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A few signs of maintenance, long ago – note the cut ends on the logs in the foreground

But as we pressed further from that “Trail Not Maintained” sign at the trailhead, conditions deteriorated rapidly. By the time the old trail crested the ridge top, we were wading through waist-deep thickets of huckleberries and mountain ash, and barely able to find the old tread.

We weren’t the only people visiting Old Vista Ridge, though. Plastic flagging periodically marked the route, especially where the going was most rough. Clearly, other folks cared about this old trail.

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Yikes… rough going, here!

The string of viewpoints I had seen from above on the Timberline Trail, proved illusive once we were down in the forest. Eventually, we followed a game trail through a beautiful subalpine meadow and came to what I thought might be the main viewpoint — and a stunning view of Mount Hood emerging from autumn clouds in the late afternoon sun. After capturing this beautiful scene, we declared victory, and trudged back through two miles of brush and fallen trees to the trailhead.

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Our first look at the view from The Rockpile in October 2016

Once back at home, I realized that the viewpoint we had reached was not the one we were aiming for — the prominent outcrop I had seen from up on the Timberline Trail. Instead, it was a talus dome now known as The Rockpile, just a quarter mile or so from the main viewpoint. Time to return!

So, two weeks later, on October 22, Greg and I returned to fight our way back up the Old Vista Ridge Trail, this time certain we would find that most prominent viewpoint. But first, we pressed on to find the end of the Old Vista Ridge Trail, at tiny Perry Lake. It was more of a pond, but lovely, nonetheless. We also explored the remains of the old Red Hill Guard Station and fire lookout, near the lake.

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Tiny Perry Lake in October 2016

Next, we traced our steps back up the Old Vista Ridge Trail to another viewpoint we had passed along the way, a spot we now know as Alki Point that features a view looking north toward the Columbia River Gorge and the big Washington volcanoes.

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The panoramic view from Alki Point in October 2016

As we stood admiring Alki Point and taking a few photos, we had an amazing stroke of luck: steam suddenly began billowing from Mount St. Helens! We stayed and watched the minor eruption, capturing these rare photos of the event:

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Mount St. Helens erupting on October 22, 2006

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(Click here for a larger view)

The last order of business on that memorable October 22 trip was to find the main viewpoint that had stood out so prominently from the Timberline Trail.

We soon discovered that it was just off the main trail, and could be found by skirting above a series of talus slopes adjacent to the trail. As we approached the rugged, windswept viewpoint, a Great Horned Owl floated close overhead — and now Owl Point had a name!

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Our stunning first look at Mount Hood from Owl Point in October 2006

Our first look at Owl Point was simply stunning, and far beyond what I had imagined when looking down on the area during that summer of 2006. The viewpoint was just far enough from the mountain to give remarkable perspective, but close enough that we felt we could reach out and touch it. It is simply one of the finest views of the mountain, anywhere.

Bringing Old Vista Ridge back in 2007

The beauty of Owl Point (and later, threats of a proposed dirt bike play park that would destroy the trail) stuck in my mind after those first trips in the fall of 2006, and by the summer of 2007 several folks on the fledgling Portland Hikers online forum (now OregonHikers.org) conspired to simply go and maintain this beautiful old trail. We really had no idea what we were doing, nor that we would be creating some hard feelings with the USFS that we would eventually have to reconcile in order to formally adopt the trail.

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September 22, 2007 founding trip to Old Vista Ridge

The 2007 volunteer work included several ad hoc “clipper trips” by Portland Hikers forum members to clear brush, and dozens of logs were cleared by experienced chainsaw volunteers among our web community. Our most notable of these informal events came on September 22, 2007, when a group of volunteers met to take on the most unruly sections of brush along the old trail.

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Volunteers made a big impact that day!

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Sawing logs in 2007

The impact we made on that day particular inspired everyone, and on way down the mountain that evening, we talked about creating a service arm of the old Portland Hikers community. A few weeks later, we had formed what was originally known as the “Trails Association of Oregon”, though by early 2008 we had switched to Trailkeepers of Oregon (TKO). Soon, we had non-profit status, and the rest if history, as the saying goes!

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Celebrating at Owl Point on September 22, 2007

If you haven’t guessed by now, I’ve been involved with TKO and its Oregon Hikers Forum and Field Guide from the beginning, so the grand re-opening of Old Vista Ridge is a pretty big thrill for me. In 2012, we posted a summit log at Owl Point, and there is nothing more rewarding than reading the inspired comments from hikers reconnecting with nature as they take in the view. Here are some samples from the past couple years:

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As we move forward under the new agreement, TKO will continue to care for this trail in partnership with the Forest Service. We have lots of work planned to improve the trail and make the experience even better, and I’ll periodically showcase that work here.

How to Join TKO at the September 10th Event

If you have never been part of a trail stewardship project, TKO’s September 10 event at Old Vista Ridge is a wonderful way to start. For the adventurous, we’ll have a couple crews using crosscut saws to clear logs — a very cool experience, if you’ve never done that before.

For the less adventurous, we’ll also have crews doing what we did way back in 2007: taking loppers to huckleberries and mountain ash along the trail. If you’ve pruned a hedge, then you can do this!

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TKO volunteers in a recent project at Punchbowl Park, near Hood River

One of the best things about being part of a TKO crew is knowing that you’ve helped keep our trails around for future generations to enjoy. It’s a VERY satisfying feeling! It’s easy to RSVP for the event, but space is limited. Just go to this link and sign up online on the TKO website:

September 10 • Old Vista Ridge 10th Anniversary Project

We’ll have other fun events as part of this special stewardship project, including the trail dedication and a 10th Anniversary celebration at the end of the day.

As always, thanks for reading the WyEast Blog, and I hope you’ll consider joining us on September 10, too!


Addendum

Over the past week, TKO has been working closely with the U.S. Forest Service to monitor the Eagle Creek Fire in the Columbia River Gorge and the potential of the fire to move south. Based on an abundance of caution for the health and safety of the many volunteers who had registered for this event, TKO and the Forest Service have decided to postpone the September 10 Old Vista Ridge event until a later date. I’ll provide updates here on the blog, when available.

To respond to Buck’s comment (below), TKO will be also working with the Forest Service to assess the trail damage in the Gorge after the smoke clears, and will be working (likely for years) to restore the trails there. In the meantime, TKO has set up a dedicated e-mail list that you can join to receive periodic updates on that effort and opportunities to help:

TKO Response to the Eagle Creek Fire & Special E-mail List

Thanks for asking, Buck!

Owl Point Sentinel Tree

Posted July 31, 2017 by Tom Kloster
Categories: Natural History, Photography, Sentinel Trees, Trips

Tags: , , , , ,
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Mount Hood from Owl Point in October 2006

Just over a decade has passed since I first visited Owl Point, a spectacular rocky viewpoint along the Old Vista Ridge Trail, on Mount Hood’s north side. At the time, the trail had fallen into disrepair after years of neglect, but it has since rebounded thanks to volunteers pitching in.

Since that first visit, I’ve been to Owl Point every year to admire and photograph the dramatic view of Mount Hood and enjoy the relative solitude, compared to many other places on the mountain. I’ve watched the landscape change, sometimes dramatically, as was the case with the 2011 Dollar Lake Fire that swept the north side of Mount Hood. But I’ve also watched more subtle changes as the details of this beautiful spot become ever more familiar.

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The author at Owl Point in 2008 (Photo: Andy Prahl)

One of those more subtle features is a craggy Noble Fir perched among the boulders on the exposed south flank of Owl Point. This old survivor can be seen in the far left of one of the first photos I shot in 2006 (at the top of the article) and in the photo, above, taken in 2008 by trail volunteer Andy Prahl.

If you’ve followed this blog over the years, you’ve seen earlier articles about “sentinel trees”. These are trees that seem to defy the odds and elements in their size, grandeur or simple tenacity in finding a way to survive. This tree certainly qualifies.

From an aesthetic perspective, the old Noble Fir at Owl Point is a gift for photographers, adding testimony to the rugged, often harsh conditions found there. The old tree also adds a nice visual balance and interest to the scene. So, in this way the Owl Point sentinel tree has become an old friend to this photographer.

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Owl Point in July 2011, with the old Noble Fir on the left – just days before the Dollar Lake Fire

In 2011, I visited Owl Point just a few days before the catastrophic Dollar Lake Fire swept across the north slopes of Mount Hood, burning 6,300 acres of subalpine wilderness. The photo above is among the last that I captured of the once-green forests on the mountain before the fire changed the landscape.

Though the fire burned for more than two months that summer, Owl Point and the Old Vista Ridge Trail were somehow spared and the craggy old Noble Fir sentinel tree at Old Point lived on.

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The Dollar Lake Fire in 2011

After the fire, Owl Point served as one of the best places to absorb the full scope of the Dollar Lake Fire, with nearly the entire extent of the burn visible from there. While the brown swath of scorched trees was jarring to look at, it was also a reminder that fire is a regular and necessary visitor to our forests.

The forests we lost to the fire have since given us a new window into how new forests emerge from the ashes, a process as old as the forests, themselves.

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Browned slopes of Mount Hood one year after the fire in 2012

The old Noble Fir sentinel tree at Owl Point had witnessed fire before the Dollar Lake Fire, and from a much closer vantage point. Sometime in the early 1900s, a similarly large fire swept across the high country north of Mount Hood, scorching Owl Point and thousands of acres in the surrounding area.

This 1952 photo (below) shows the forest recovery from this earlier fire at Owl Point just getting underway, decades after the burn. In fact, the area is still in recovery today, a century after the fire.

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Early 1900s burn that swept across Owl Point (Courtesy: Hood River History Museum)

The view from 1952 is an inverse scene from what we see today, with a scorched foreground and lush, green slopes on Mount Hood. These contrasting images over time area a reminder of the fire cycles that are as natural to the area as rain and wind.

A closer look at the 1952 photo reveals several trees that survived the older fire, thanks to their isolation in the open talus fields below Owl Point:

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These trees on the talus slopes of Owl Point survived the earlier fire

One of these fortunate survivors is the sentinel tree at Owl Point that we know today. Though only 30-40 feet tall, it could easily be a century or more old, stunted by the harsh conditions on the talus slope.

While the old Noble Fir at Owl Point appears to have dodged a couple of forest fires in its lifetime, the tree began to show signs of stress in 2012, the year after the Dollar Lake Fire. Foliage (below) from some of its lower limbs began to drop, suggesting the beginning of its decline.

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Owl Point sentinel tree in 2012, one year after the Dollar Lake Fire

By 2014 (below), the signs of stress were more ominous, and it was clear that the old sentinel tree was losing its battle to survive the elements at Owl Point.

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Owl Point sentinel tree in 2014

After the snowpack melted off in 2016, the situation for the old tree had become dire as it struggled to maintain the remaining foliage in its crown (below), a sign that the tree might not survive the season.

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Stress claims the crown of the Owl Point sentinel tree in 2016

But a closer look (below) this summer at the dying tree tells a different story. While the exposed upper portion of the tree has clearly lost its battle, a fringe of healthy new foliage is thriving around the base of the tree. It turns out that while the Owl Point Noble Fir has lost its main trunk, it is still very much alive.

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Owl Point sentinel tree finally succumbs to the elements in 2017

An even closer look at the base of the old tree (below) shows the secret of “krummholz”, the name for stunted trees that survive in harsh alpine environments. Trees like this Noble Fir adapt to their conditions by producing new leaders from their lowest branches to replace dying or broken tops.

These new leaders on Noble Fir growing as krummholz often form dense mats of foliage at the base of a tree, low enough to be protected by winter snowpack from the harshest weather conditions. This is clearly the case for the Owl Point sentinel tree.

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A new beginning for the Owl Point Noble Fir…

The classic example of a krummholz in Mount Hood country is the Whitebark Pine, a tree that thrives above 5,000 feet, often gnarled beyond imagination by the elements. The example below shows the skeleton of an ancient Whitebark Pine (on Lookout Mountain), surrounded by new leaders that have merged from limbs flattened to the ground by winter snowpack.

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Ancient Whitebark Pine krummholz on Lookout Mountain

While winter conditions regularly shear off new growth that pokes above the snowpack on a krummholz, a rapidly growing new trunk like the one emerging at the base of the Owl Point sentinel tree can eventually survive and grow to replace the older tree. This is clearly a slow process, and one that I won’t likely be around to witness!

But in the near-term, photographers like me will be able to watch the dying trunk of the Owl Point sentinel tree gradually weathering to become a dramatic sun-bleached snag that will be photogenic in its own right. And, as the new leader continues to rise from the base of the old trunk, this striking old tree will continue tell a powerful story of survival.

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You can visit Owl Point and see its sentinel Noble Fir by following the 4-mile round trip Old Vista Ridge hike from the Vista Ridge Trailhead. The hike is described here in the Oregon Hikers Field Guide.

 

Proposal: Raker Point Trail

Posted June 30, 2017 by Tom Kloster
Categories: Cultural History, Natural History, Photography, Proposals

Tags: , , , , , , , ,
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The view from Raker Point in a 1930s postcard

Each year, thousands visit beautiful Lost Lake, one of the most beautiful and iconic places in Mount Hood country. The view of Mount Hood mirrored in the lake has been photographed countless times and has graced hundreds of postcards, calendars and scenic books. Some visitors to the lake climb the old lookout trail to Lost Lake Butte, which provides a sweeping view of the mountain, but only glimpses of the lake as once-burned forests continue to recover there.

Yet, not long ago, another dramatic view was possible: Lost Lake nestled in the forests beneath Mount Hood, framed with blooming Pacific Rhododendrons. This scene was captured from the crest of Raker Point, a rocky spur due north of Lost Lake, and briefly a forest lookout site in the early 1930s.

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The view from Raker Point as captured in a Ray Atkeson postcard in the late 1940s

The view from Raker Point appeared in early postcards, and was later captured by Oregon’s famed photographer Ray Atkeson (above) in images that appeared widely in calendars, postcards and even automobile ads (below) in the 1950s.

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1951 Lincoln ad featuring the view from Raker Point

Ironically, the famous images captured by Atkeson were made possible by the industrial logging that began sweeping our national forests in the decades following World War II. By the late 1940s, a logging spur pushed over the saddle between Sawtooth Ridge and Raker Point, providing easy access to the spectacular view, even as it enabled the destruction of old growth forests that once grew there.

Today, the old logging road to Raker Point has been decommissioned by the Forest Service and the clearcut slopes are slowly recovering. Now, Raker Point has become all but forgotten.

Where is Raker Point?

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Raker Point isn’t the tallest or most impressive among the Cascade peaks that rise up around Lost Lake, but it is the best positioned for a grand view of the lake and Mount Hood. Raker Point can be seen from the Lakeshore Trail, where it rounds the south end of the lake, as shown above.

When the Forest Service first brought a road to Lost Lake and lookout towers to the Lost Lake area in the 1920s and early 1930s, Raker Point was much more prominent, thanks to wildfires in the early 1900s that had cleared both Raker Point and Lost Lake Butte. Their open summits made ideal forest lookout sites.

This early 1930s view shows Raker Point and other nearby peaks from Hiyu Mountain, another lookout site located several miles to the south, and Raker Point’s bald summit clearly stands out:

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[click here for a larger image]

A closer 1933 view from nearby Lost Lake Butte in 1933 shows the scorched summit of Raker Point much more clearly. The impressive old growth forests of the Lost Lake Basin are also on display in this view:

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Scorched Raker Point from Lost Lake Butte in the early 1930s

This rare 1933 perspective of Raker Point and Lost Lake is from Sawtooth Ridge, where a temporary (and misnamed) “Raker Point” lookout was briefly located:

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[click here for a larger panorama]

The origin of Raker Point’s name is unclear, but it’s likely that an early Forest Service ranger or surveyor named the peak — and perhaps was the namesake, too?

Today, forests have returned to all but the rocky summit and surrounding talus slopes on Raker Point. This view (below) from the Lake Branch Road shows the now green slopes, with just a small opening near the top of the butte. Does this mean the classic view of Lost Lake and Mount Hood captured by Ray Atkeson in the 1940s has been lost?

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Raker Point rises above the talus fields along the Lake Branch Road

The answer can be found on the opposite side of Raker Point. This view from Indian Mountain, located a few miles north and across the Lake Branch Valley from Raker Point, shows the still open, rocky crest framed in talus slopes and groves of Noble Fir:

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The rocky crest of Raker Point from the north, as viewed from Indian Mountain

While rhododendrons may not thrive on the summit, the views of Mount Hood and Lost Lake are clearly still intact, though probably framed in Noble fir boughs and drifts of huckleberries.

The Proposal

The Lost Lake area already has a fine network of trails, but a new route to Raker Point would bring needed opportunities to this popular recreation area.

First, the classic view from Raker Point is reason enough to warrant trail access to the summit. But a trail to Raker Point would also serve as a more attainable challenge for families visiting Lost Lake.

Today, hikers can make the 2-mile trek to the summit of Lost Lake Butte. Yet, while the view from there is excellent, it pales in comparison to Raker Point. More importantly, a trail to Raker Point would shave 400 feet of elevation gain in half the distance compared to the Lost Lake Butte hike, making it much more accessible to casual hikers and families with young children.

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[click here for a large map]

The proposed trail is simple: it would begin along a segment of the Old Skyline Trail that traverses the base of the Raker Point, and connects to the nearby campground, resort cabins and lodge at Lost Lake.

Trail building would be straightforward, as well. The area is outside protected wilderness, so would not present limitations on the use of power saws and or other heavy equipment in the construction. The modest 1-mile length of the proposed new trail also puts it within financial reach in this era of cash-strapped federal land agencies.

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[click here for a large panorama]

The new trail would also be accessible from trailheads along the Lake Branch Road, allowing hikers to visit the trail without adding to the crowds and congestion at Lost Lake, proper.

What would it take to make this happen? Interest from Forest Service officials, for sure, but support from the Lost Lake Resort operators, in particular, could put this new trail on a fast track. The resort would clearly benefit from a new family-friendly trail option near the lodge, and would be powerful advocates if they were to bring this argument to the Forest Service.

So, consider mentioning the idea if you happen to visit the resort this summer..!

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Postscript: at about the time I was writing this article, uber-adventurer Paul Turner was exploring Raker Point and nearby Sawtooth Ridge. He posted some excellent photos from his trip over here on the Oregon Hikers forum. Thanks, Paul!

Big Changes coming to the Gorge Power Line…

Posted May 31, 2017 by Tom Kloster
Categories: Cultural History, Proposals

Tags: , , , , , , , ,
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These venerable steel towers will soon be a memory in the Gorge

 

Author’s preface: having spent more than 30 years in public service, it frustrates me to see any level of government making anything less than a consistent, substantial and meaningful effort to engage the broader public in its decision making. All public entities should be held to this high standard, whether local, state or federal.

So, when I stumbled across the Bonneville Power Association (BPA) decision to significantly rebuild the prominent power line corridor that links Bonneville Dam to Hood River, I was disappointed to learn that the decision involved a handful of select stakeholders and two short windows for public comment that saw little notice or participation. We should expect more, and the BPA should step up its commitment to real public engagement, not meager efforts that do little more than check regulatory boxes.

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According to a retired BPA employee who once joined me on a hike near Starvation Creek, the daring alignment of the power line corridor that provided the first electricity from Bonneville Dam to Hood River is the doing of no less than Franklin D. Roosevelt. As the story goes, FDR was on his famous tour of the Mount Hood Loop Highway on September 28, 1937, with stops to inspect Bonneville Dam and dedicate Timberline Lodge.

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BPA workers building the daring new power lines across Shellrock Mountain in 1937 (BPA)

After leaving Bonneville, FDR asked about the power lines that were under construction, and a BPA official told the president they would be built on slopes high above the Gorge, where the terrain was easier to navigate. FDR reportedly barked at the official “I want those power lines down here, where the people can see the electricity that we’re bringing to their communities!”

So began the project to build the BPA power lines across the rugged cliff faces of the Columbia River Gorge. Amazingly, most of the work was done by hand, with pack mules carrying materials to the often dizzying cliff-top tower locations. While it’s hard to view any power line as “scenic”, the sheer audacity in how these towers were designed and built can’t help but impress hikers passing under them today.

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The Shellrock Mountain power line and trail today

The Bonneville to Hood River corridor is one among many power lines that transmit hydro-power along the Columbia, but this corridor is notable in that much of it is serviced through a network of trails where the terrain was too extreme to support service roads. Many of these trails have morphed into recreation trails over the years.

Big Changes Coming this Summer

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Trees marked for cutting at Viento State Park

After eighty years of maintaining the Gorge power line corridor in much the same state, the BPA is about to significantly change both the look of the towers and some of the access routes. I stumbled across this reality earlier this spring when I was exploring the area above Viento State Park, where I encountered a few dozen mature Douglas fir marked for cutting.

At first, I thought it might be a thinning project of some sort, but upon some research, discovered that the BPA was about to replace all of the steel towers and many of the wood pole towers along the corridor and expand several of the access spur roads. Up to 30 of the new towers will be steel “mono-poles”, a departure in both look and height from somewhat rustic old structures that now exist on the corridor.

The project also proposes to remove up to 747 trees to allow access roads to be widened and rebuilt, and the BPA proposes “temporary disturbance” to over 58 acres and “permanent disturbance” to about one-third of an acre.

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More trees marked for cutting in the Gorge power line corridor

For the scoping phase of this project, the BPA opened a public comment period of six weeks and held a public meeting in Hood River in the spring of 2014. They received 12 written comments during the scoping phase and four people attended this meeting. Sadly, this dismal turnout was during the critical window for raising issues to be considered by the BPA as part of the environmental assessment.

The agency also reached out to tribes and a few interest groups they have long engaged in their public outreach, but their effort falls short of a meaningful commitment to fully engage the public, as evidenced by the meager input they received. The BPA held a second public meeting and opened a final six-week comment period on the draft environmental assessment last fall. As one of the largest and most reliably funded public agencies in existence, the BPA can and should do better.

Who Weighed in?

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The BPA’s overly aggressive removal of native vegetation in the power line corridor and subsequent abundance of invasive species was a theme in comments received

While the BPA received very little input from their limited effort to reach out to the public, there were a few commenters. The Friends of the Columbia River Gorge were one again our reliable and invaluable watchdogs in the Gorge weighed in with extensive comments, including the following on the BPA proposal:

[The BPA should] mitigate scenic impacts by installing new structures that would be less visually discordant in the landscape. Where steel towers are needed, we ask that weathering steel be employed to reduce visibility.

Include a robust invasive species eradication and restoration strategy. The BPA transmission line corridor is frequently infested with invasive plants, such as Armenian blackberry. While replacing structures, BPA should remove invasive plants and restore native vegetation communities that would be compatible with long-term vegetation management requirements. 


BPA should also thoroughly document existing native vegetation communities and determine the need for future vegetation management. BPA’s past vegetation removal efforts have removed vegetation that poses no threat to the transmission line system, which unnecessarily harms wildlife habitat and creates openings for invasive plants.

The Pacific Crest Trail Association also weighed in, with concerns about how the proposed changes could degrade the PCT where the power line crosses the trail near the Bridge of the Gods trailhead. Among their concerns:

The existing view from the trail is a long line of sight down a decidedly unnatural appearing power line corridor, crisscrossed with roads. Forest Service scenery management principles dictate that developments viewed from a sensitive viewing area should strive to mimic “the form, line, color, texture, and pattern common to the landscape.”

Contrary to this, the improved roads will stand out visually as artificial, in what’s already an artificial corridor of cleared vegetation. The improvements would disrupt the PCT traveler’s experience because they clearly mark human manipulation and diminish the desired sense of remoteness from civilization.

While it’s suboptimal for the PCT to follow any road at all, at least the existing condition of the road is rustic. Upgrades to the road, including resurfacing with imported materials, will make it appear and feel more industrialized for the PCT traveler. A related effect, because the road is already dominant over the trail, is that people get lost and continue to follow the road, despite trail signage. Improving the road would exacerbate this situation. 


 The trail crosses directly under one of the structures, in fact, between the poles and their guy lines. This site can’t help but appear impacted by the proposed improvements. There will be three poles instead of two, and, clearly a good deal of ground disturbance involved in upgrading this structure. 


These exacerbated visual impacts to the trail could be best ameliorated by reconfiguring the intersection, and reconstructing portions of the PCT where necessary to meet the BPA line in a spot that lends itself better to disguise. Such a trail relocation would be as much as .5 mile long, and would require its own NEPA study. We propose that this NEPA study, and subsequent trail construction by PCTA’s volunteer crews, be funded by BPA as a mitigation measure. 


The Columbia River Gorge National Scenic Area (CRGNSA) unit of the U.S. Forest Service wrote extensive comments, mostly reminding the BPA of regulatory requirements related to the Gorge and the need to conduct environmental assessments when trails or other recreation facilities within the corridor would be significantly impact. The CRGNSA did not comment on opportunities to improve the access trails along the corridor to serve as recreational trails.

What to Expect this Summer?

This project is now going forward in largely the form that was first proposed in 2014 as the preferred action by the BPA. What does this mean for your favorite trails in the Gorge? Here’s are some key excerpts from the BPA’s 410-page draft environmental assessment, beginning with a project overview:

“The Proposed Action is to: (1) rebuild portions of the Bonneville-Hood River transmission line within the rebuild area for the Project (the 22-mile-long segment from structure 1/5 to the Hood River Substation); (2) rebuild the Cascade Locks Tap [author’s note: this is the point where the community of Cascade Locks taps into the power line corridor]; and (3) improve and extend the access road and trail system that allows BPA access to and from the transmission line. Specifically, the Proposed Action would involve the following components:

  • Removal of wood-pole and lattice-steel H-frame transmission line structures constructed prior to 1999 (including cross arms, insulators, hardware, and guy wires) and replacement with a combination of wood-pole H-frame structures and steel-monopole structures. 

  • Retirement of unnecessary transmission line structures. 

  • Replacements of conductors and guy wires. 

  • Replacement of insulators and hardware in locations with no structure or conductor replacement. 

  • Improvement, reconstruction, and extension of existing access roads and trails. 

  • Installation or replacement of bridges, fords, culverts, and access road gates. 

  • Establishment of temporary staging areas, helicopter flight yards, and tensioning sites (for pulling and tensioning conductors). 

  • Installation of temporary guard structures for stringing lines over roads and other utilities. 
  • Removal of vegetation at various locations along the transmission line right-of-way and access 
roads. 

  • Re-vegetation of areas disturbed by construction activities.

Hikers are mostly likely to notice the changes on trails that also serve as access to the power lines or cross the corridor, including the Pacific Crest Trail, Starvation Ridge, Mount Defiance, Wygant and Mitchell Point trails. Off-trail explorers will also see changes in the bluffs above Viento State Park and on Shellrock Mountain.

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The Mount Defiance and Starvation Ridge Trails could be noticeably affected where they pass through the power line corridor

Here’s an except from the environmental assessment that describes the changes we will likely see in these places:

“BPA currently uses a combination of existing roads and foot trails to access the transmission line. BPA holds permits and access road and foot trail easements for access across public and private land. Through these permits and easements, BPA has previously constructed roads and foot trails to access the transmission line. These access roads and foot trails are primarily located within the transmission line right-of-way, but there are also some access roads and foot trails located outside the right-of-way where required due to terrain constraints or other factors.

In a few locations, BPA currently does not have express easement rights to use some existing roads or foot trails that provide access to the transmission line. At these locations, BPA would acquire about 4.4 miles of easement rights to use various sections of the existing roads and trails. Generally, BPA obtains a 50-foot-wide easement for access road rights and 20-foot-wide easements for foot trails.  

BPA’s existing access roads for the line are typically 14 feet wide with an additional 3-foot offset from each side for slopes or drainage ditches, resulting in a total disturbance width of about 20 feet. Access road reconstruction and improvement activities associated with the Proposed Action would occur within this prism, except in areas with curves or on steep slopes where work would occur outside of this prism because of necessary cut and fill.

In areas with identified sensitive resources, such as wetlands or sensitive habitat, access road widths would be reduced to 12 feet and the offsets on either side would be reduced to 2 feet, for a total area of disturbance of 16 feet to minimize temporary and permanent impacts.  

Trail reconstruction or extension activities would result in a typical trail bed width of 18 inches that would require a total clearing area of 2 to 4 feet. For trails crossing steep talus areas, such as Shellrock Mountain, trail bed widths may be as small as 12 inches due terrain constraints. To provide trail stability in these steep areas, sideboards would be installed with rebar or rocks would be keyed into the hill.

On talus slopes, the trail bed would be comprised of compacted course surface material. In non-talus areas, the trail bed would be at grade and would consist of native material. All trail work areas would be accessed by foot and trail improvement, reconstruction, or extension work would be conducted with hand held equipment.”

More information on the project can be found on the BPA’s project website.

It’s never to late to be heard…

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BPA power line tower to be replaced on the Viento Bluffs

With a little more effort in their public outreach (like contacting trail organizations), the BPA would certainly have heard plenty of comments from the general public, and especially from hikers who regularly visit the corridor. Much of the commentary would likely have focused on how popular trails like Starvation Ridge and Mount Defiance will be impacted by the project.

But it could also have been an opportunity for hikers to propose expanded use of the power line trails by hikers, including areas like Shellrock Mountain and the area between Starvation Creek and Viento Creek that have tremendous scenic value. While the Forest Service declined to call out this opportunity, these trail sections also could help complete Gorge Trail 400.

No doubt the BPA wouldn’t be enthusiastic about bringing more hikers to the corridor, but the land belongs to the public and there’s no reason not to make full use of the routes the BPA will be building and maintaining with our public funds.

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The BPA corridor crossing Shellrock Mountain (BPA)

Is it too late to weigh in? Yes, for the most part. The project entered the final stage of the environmental impact process this spring and is scheduled to move into construction this summer. But if you’re concerned about how the construction is proceeding on the ground, you can contact the BPA directly with your concerns or comments:

Chad Hamel

Project Manager

Bonneville Power Administration

P.O. Box 61409

Vancouver, WA  98666-1409

Tel 800-622-4519

The most interesting section of BPA trail that is not currently a signed route is the trail over Shellrock Mountain. While this is only for the most experienced hikers today, it’s a great adventure that includes magnificent views of the Gorge that few enjoy. Hopefully, this route will someday be connected to Gorge Trail 400 — as it should have been as part of this project.

In the meantime, consider exploring the corridor by visiting the connecting trails at Mitchell Point, Wygant Peak, Starvation Creek and where the PCT crosses the corridor on the route to Dry Creek Falls.

Most of the land in the corridor is in public ownership and managed by Oregon Parks and Recreation or the U.S. Forest Service, so you are free to walk the trails and service roads here. This is the best way to see first-hand how your public lands are being managed, even if the BPA has let us down in their efforts to involve the public in this project.

Punchbowl Park is (mostly) open for Business!

Posted April 30, 2017 by Tom Kloster
Categories: Cultural History, Natural History, Trips

Tags: , , , , , , ,
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Punchbowl Falls

Spring is a wonderful time to visit the new Punchbowl Falls County Park, located on the West Fork of the Hood River, near Dee. This article is offered an update on the new trails that area gradually being constructed in the park and a guide to visiting this beautiful area for a sneak preview while the trails are being completed.

Punchbowl Falls Park was acquired from a private timber company by the Western Rivers Conservancy just a few years ago, and finally came into public ownership in 2015 when Hood River County received a state grant to transfer the land from the conservancy. Trailkeepers of Oregon (TKO) has since been busy constructing a new loop trail geared toward families and casual hikers looking for an easy stroll with a lot of scenery.

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New entry sign at Punchbowl Falls Park

In 2016, TKO volunteers completed most of the West Fork Trail, a scenic route that traverses the open bluffs above the Punchbowl Gorge before arriving at a spectacular cliff-top viewpoint above Punchbowl Falls. The remaining segment of the West Fork Trail is expected to be completed by early summer, and will include a short spur to a viewpoint of beautiful Dead Point Falls, where a boisterous Dead Point Creek cascades into the West Fork.

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Punchbowl Falls Park Trails

(Click here for a large, printable trail map)

Over the summer and fall, TKO also expects to complete the Dogwood Trail, a short forest hike that will create a loop back to the trailhead. The completed loop will be just 0.8 miles in length, making it ideal for families and casual hikers. While the West Fork portion features views and rugged terrain, the Dogwood Trail offers a quiet forest and vibrant fall colors from vine maple and dogwoods that thrive under the Douglas fir and Ponderosa pine canopy.

The West Fork Trail

You can hike most of the new West Fork Trail now. Just look for an obvious new path heading off to the left about 100 feet down the park service road from the gate at the trailhead. The new trail descends briefly through forest before providing the first of many views into the Punchbowl Gorge.

As you travel this section, you’ll pass through several groves of gnarled Oregon White Oak that thrive along the rocky bluffs. Watch for the collapsing remains of an old stairwell making its way down the cliffs on the far side of the Gorge, too. These stairs were built in the 1950s, when the concrete fish ladder was constructed along the west side of the falls. While the ladder mars the natural beauty of the area, it does provide passage to extensive upstream fish habitat for salmon and steelhead.

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The old stairway to the fish ladder has seen better days…

You will also pass a series of faint trails that cross the new hikers route. While these informal paths are often used by kayakers to portage the falls, they were originally travelled by tribal fishermen visiting the falls. The area below the falls is still reserved for tribal fishing, and you may see local Native Americans fishing for salmon and steelhead from the cliffs inside the Punchbowl, just as their ancestors have for centuries.

The new trail soon descends through more Oregon White Oak groves to the spectacular viewpoint of Punchbowl Falls. Plan to spend some time here watching the mesmerizing churn of the falls into the huge pool below. Keep an eye on kids and pets, here — there are no railings along the abrupt cliff edge.

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The massive amphitheater at Punchbowl Falls

On clear days the viewpoint above Punchbowl Falls has an added surprise: Mount Hood rising in the distance, above the Punchbowl Gorge. From this viewpoint, you may also see tribal fishermen on the rocks below — while it is fine to watch them work from above, please be courteous.

The fish ladder to the right of the falls was completed in 1959. Here’s what Punchbowl Falls looked like before the ladder was constructed:

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Punchbowl Falls before the fish ladder was constructed in 1959

Hopefully, the ladder can someday be rebuilt in a way that restores some of the beauty of this spot, as it surely could not have been built in this manner under today’s environmental protections. This amazing place has deep significance to Native Americans, and it seems appropriate to undo some of the impacts of our modern age on a place so valued by the tribes.

From the Punchbowl overlook, the route climbs back into forest for a few hundred yards. TKO crews are still completing the groomed tread, but the rough path is easy to follow. Watch for a faint side trail heading off to the left a few yards before the West Fork Trail ends at the service road. This spur path leads to a terrific view of Dead Point Falls, where Dead Point Creek cascades into the West Fork. Watch kids and pets here, too, as the viewpoint is unprotected.

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Deadpoint Falls

While the West Fork Trail currently ends at the park service road, the Dogwood Trail will soon begin on the opposite side of the road and provide a loop trail back to the trailhead. In the meantime, read on for other places to explore…

Exploring the Confluence

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The Confluence

It’s easy to explore the northern section of Punchbowl Falls Park using the park service road and some of the fishing trails that crisscross the area. One of the most dramatic places to visit is the confluence of the West and East forks of the Hood River.

To reach the confluence, turn left on the service road from the end of the West Fork Trail and follow it to an obvious turnaround, where the road makes a sharp turn to the right, around the nose of a ridge. Look for a fisherman’s path on the left, heading steeply downhill hill to the confluence.

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Rowdy East Fork Hood River at the Confluence

The two rivers area study in contrasts. The East Fork is unruly and filled with glacial till, and has built a huge pile of cobbles were it meets the West Fork at the confluence. The West Fork is cold and clear, with a large eddy that makes for good fishing and safe place for kids to wade in summer.

Wildflowers and Fall Colors

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Grass Widow above the Punchbowl Gorge

Spring and fall are the best times to visit Punchbowl Falls Park. In spring the waterfalls are at their best, and there are wildflowers blooming throughout the park. In fall, the park lights up with autumn colors that only the east side forests can offer. Both seasons are quiet compared to the summer months, when the park can be quite busy with swimmers and floaters on weekends.

Wildflowers at the park are a unique blend of east and west. In April, the bluffs above Punchbowl Gorge are blanketed with Grass Widow (above), a desert flower common in the Columbia Gorge east of Rowena. The same meadows of grass widow are shared by Larkspur (below), more common in the wet west end of the Gorge.

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Larkspur along the West Fork Trail

In forested areas, you’re likely to see Trillium (below), a hallmark of the rainforests of the western Gorge, and in early spring you’ll find Glacier Lily (below) where the trail passes through Oregon White Oak groves.

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Trillium along the Dogwood Trail

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Glacier Lily near the Punchbowl Falls overlook

Watch closely and you might spot Calypso Orchid (below). This is another native more common in the wet forests of the west Gorge, but makes its home in the transitional forests of Punchbowl Falls Park.

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Calypso Orchid along the Dogwood Trail

In autumn, Pacific Dogwood (below) brings brilliant color to the forest understory throughout the park. In western Oregon, dogwood generally fade to pale yellow or pink in the fall, but on the east side of the Cascades, these graceful trees take on brilliant shades of coral, crimson and burgundy. In spring, Pacific Dogwood also blooms with handsome white flowers. When completed, the new Dogwood Trail will pass through several groves of these beautiful trees.

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Dogwood in Autumn at Punchbowl Falls Park

Vine Maple is everywhere in the forests of Punchbowl Falls Park, and like the native dogwood, these graceful trees light up in autumn, providing shades of crimson, orange and bright yellow. Vine Maple crowd the route of the new Dogwood Trail, and will combine with the dogwoods to make this an exceptionally beautiful autumn hike.

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Vine Maple in Autumn

Fall colors in Punchbowl Park peak in mid-October and spring wildflowers are at their best from mid-April through early June.

A View into the Gorge

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West Fork entering Punchbowl Gorge

If you still have time after visiting the West Fork Trail and the confluence, once last corner of Punchbowl Falls Park you might want to explore is the dizzying view from the bridge located just beyond the trailhead parking area. Simply walk about 200 yards to the soaring bridge for a spectacular look into Punchbowl Gorge, but use care — the railings are uncomfortably low!

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The Narrows in Punchbowl Gorge

The view upstream from the bridge encompasses the West Fork roaring into the narrow mouth of the Gorge, framed by towering walls of columnar basalt. The small structure just upstream is a river gauge used to monitor stream flows on the West Fork. The view downstream from the bridge peers into the narrows section of the gorge, with the West fork carving stunning curves and pools into the basalt walls.

These scenes, and the massive basalt amphitheater of Punchbowl Falls area among the best Columbia River basalt formations found anywhere in the region. It’s mind-boggling that this spectacular canyon was in the hands of a private timber company for more than a century! Thankfully, it is now protected in perpetuity as a nature park.

What’s Ahead?

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The author with TKO volunteers and county officials at a recent scouting trip at Punchbowl Park

Much work lies ahead for Punchbowl Falls Park this year. TKO has several volunteer work parties planned (you can learn more about them here), and Hood River County will begin improving the parking area at the trailhead to be a more accessible.

By fall of 2017, the new Dogwood Trail should be completed, and TKO volunteers will install trail signs on both the West Fork and Dogwood trails, officially opening the new loop to visitors. Over the long term, Hood River County and TKO are also planning an extension of the West Fork trail to the confluence and other trails in the new park.

Where to Find Punchbowl Falls Park?

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Punchbowl Gorge and bridge from the West Fork Trail

It’s easy to get to the new park! From Hood River, take 12th Avenue south where it soon becomes Tucker Road (aka Route 281). Follow Tucker Road and signs pointing to Lost Lake. After crossing the Hood River at Tucker Bridge, watch for the Dee Highway immediately veering off to the right.

Follow Dee Highway (also part of Route 281) to the rusty, dusty remains of the old mill town of Dee. Veer right again, crossing railroad tracks and then the East Fork Hood River, then turn right again onto Punchbowl Road just beyond the bridge. Stay straight on Punchbowl Road at a 3-way junction, then enter forest at a hairpin turn. Watch for the parking area on the right, just short of the high bridge over the West Fork Hood River.

The new trail begins just beyond the metal gate that marks the park service road.

Enjoy!

 

 

Bierstadt in Oregon

Posted March 31, 2017 by Tom Kloster
Categories: Cultural History, Natural History

Tags: , , , , , , , , , , , , ,
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Albert Bierstadt’s magical 1869 vision of Mount Hood

Long before white settlement had reshaped the American West, artists were traveling with early explorers to capture scenes of the stunning landscape and native peoples. This was the first view most Easterners in our young country had of places like Yellowstone, the Grand Canyon and Yosemite — places that would eventually become the crown jewels of our national park system.

And just as Mount Hood and the Columbia River Gorge are still believed by many to be part of the national park system, the painters and photographers of the mid-1800s captured them in their untouched state along with the other great places in the West. This article tells the story of how Albert Bierstadt and other artists of the era came to Oregon to capture the beauty of our mountain and the Columbia River, how their art helped inspire the original national parks movement and how their work still resonates with us today.

Longing for Nature

In the mid-1800s, the Industrial Revolution was in full swing in the cities along America’s east coast, and the public was beginning suffer from its effects. In booming New York, massive tenements were constructed to house factory workers in apartments that were often without daylight and access to fresh air or plumbing.

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Crowded life in New York’s tenements of the mid-1800s led to a public yearning for a greener world

Coal burning was creating stagnant clouds of pollution that coated our eastern cities in soot, and there was a growing yearning for the greener, simpler world of our agrarian past. The carnage of the America Civil War in the 1860s only compounded the nostalgia. Thus, the Romantic period of the 19th Century was a movement that responded to pressures of the Industrial Revolution, glorifying a past rooted in nature.

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Simple access to light and fresh air was a luxury in New York’s mid-1800s tenements

The Romantic movement emphasized the sublimity and beauty of nature, and dominated American art during this period, especially the untamed American West that was glorified in monumental landscapes by artists of the Hudson River School.

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Thomas Cole’s 1847 “Home in the Woods” envisioned an idyllic green world in stark contrast to life in the big cities of the Industrial Revolution

The Hudson River School was a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision came to define romanticism in this country. The paintings for which the movement is named originally depicted the Hudson River Valley and its founding is generally credited to Thomas Cole, who painted until his early death in 1848.

The Second Wave

Cole was followed by a second wave of Hudson River artists who grew to become celebrities in their time, including Frederic Edwin Church, Albert Bierstadt, and later, Thomas Moran.

Bierstadt and Moran became best known for their epic paintings of the untamed American West in the last half of the 1800s. Their paintings were the popular equivalent of movie blockbusters today, with huge canvases dramatically unveiled in sensational public events.

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Thomas Moran’s dramatic scene of a storm over the Grand Canyon still wows viewers today

While the Hudson River School artists often glorified nature, they also brought people into their scenes in an idealized way, as part of the epic landscape. Native Americans were portrayed as nobly beautiful in these romanticized landscapes, and conversely, Bierstadt also created similarly noble scenes of white settlers migrating west in his Oregon Trail paintings, on their way to claim lands belonging to Native Americans.

The two ideas are a strange contradiction, given the de facto genocide that was unfolding upon Native Americans in the West when Cole and Bierstadt were creating these masterpieces. But the Hudson River artists were glorifying nature (and American Indians) as a divine creation of their Christian God, and so it makes sense that their paintings also fit the “manifest destiny” justification for westward migration of white settlers, however contradictory.

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Just as Bierstadt’s “Last of the Buffalo” (1889) brought the reality of the slaughter of America’s bison herds to Easterners in the 1800s, it now provides a window into the past for new generations of Americans learning about the western migration. It was the last of his monumental paintings, and directly triggered the first bison census, leading to protections for the species.

While Hudson River artists worked in dramatic realism, their romanticized scenes were often an idealized hybrid of multiple locations captured by the artists in their field studies in the West. Both Cole and Bierstadt made regular trips to what were often very remote, rugged locations for their studies, then returned to their studios to create the massive masterpieces that evoked the overall sense of wonder they had experienced in the West.

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Bierstadt’s “Oregon Trail” (1869) helped establish the enduring mythology of westward migration.

This is often a point of criticism for these painters, as the country was also experiencing the invention of photography, and realism in painting was increasingly being held up against tintype photos by early photographers to gauge their accuracy. Yet, just as photographers attempt to capture light and subject in a way that captures the drama and feeling of a place, Hudson River artists were similarly compiling scenes that captured their own memories and experiences in a West.

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The author on a recent pilgrimage to view Bierstadt’s “Among the Sierra” (1868), on permanent display in the Smithsonian American Art Museum.

The Hudson River artists also influenced the creation of our first national parks, with masterpieces of Yellowstone and Yosemite that persuaded Congress to establish the very first protections for our most spectacular wild places. Albert Bierstadt painted many scenes in Yosemite over the years, along with many other wild places across the West that would ultimately be protected from exploitation.

Bierstadt in Oregon

Albert Bierstadt was born in Solingen, Germany, in 1832, but soon immigrated with his parents to New Bedford, Massachusetts at the age of two. He began drawing as a child, and by his early twenties was painting with oils as part of the Hudson River School movement. He would paint over 500 paintings over the course of his remarkable life.

In 1859, he traveled west with a U.S. Government survey crew, sketching scenes that he would later turn into his epic masterpieces in his studios in New York and Rome. This was one of many trips west for Bierstadt over his long painting career. One of these paintings, “Landers Peak, Rocky Mountains”, sold for $25,000 after it was completed in 1863, an astronomical figure for that time (Bierstadt later purchased this painting from the buyer to give to his brother).

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Albert Bierstadt “Landers Peak, Rocky Mountains” (1863)

 [click here for a large view]

Bierstadt’s huge, panoramic paintings were an immediate sensation with the public, and he quickly became the preeminent painter of the American West during the mid-1800s.

Bierstadt first came to Oregon beginning in the early 1860s, and painted Mount Hood at least four times — the most of any Pacific Northwest scene. He made at least three extended trips to Oregon, twice in the 1860s and later in the 1890s, as his career was winding down.

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Albert Bierstadt in the mid-1800s

This undated, possibly earliest Bierstadt work shows a scene on the Columbia River, with trio of canoes and a towering version of Mount Hood, basking in alpenglow. At first, the peak looks more like Mount Rainier, but a closer look shows a reasonably accurate rendering of the Sandy Headwall and other west face features, albeit with a healthy dose of artistic license:

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One of Albert Bierstadt early paintings of Mount Hood (date unknown)

Another early Bierstadt work from the same lower Columbia River perspective shows alpenglow lighting up the mist along the river and, notably, what appears to be Barrett Spur on the mountain’s north flank, makes this a somewhat more literal image:

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Albert Bierstadt “Morning Thirst – Mount Hood” (date unknown)

In the fall of 1863, Bierstadt made his second trip west and painted a pastoral scene on the north side of the mountain, as viewed from the Hood River Valley. This spare, relatively small portrayal (just 20 inches wide) is much more literal, with many familiar north face features captured, along with Lookout Mountain, to the east. Bierstadt also used artistic license to include Mount Jefferson peeking over the west shoulder of Mount Hood:

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Albert Bierstadt’s 1863 view of Mount Hood from the Hood River Valley

This painting is thought to have been in preparation for the much larger paintings of Mount Hood that would follow. His companion on the 1863 trip, Fritz Hugh Ludlow, recalled the visit in a published account that followed:

“After a night’s rest, Bierstadt spent nearly the entire morning making studies of Hood from an admirable post of observation at the top of one of the highest foothills — a point several miles southeast of town, which he reached under the guidance of an old Indian interpreter and trapper” (Atlantic Monthly. December 1864)

In 1865, Bierstadt completed a very large piece that pictures an idealized, but much more literal Mount Hood towering over the Columbia Gorge. Multnomah Falls and even Larch Mountain are included in the artist’s blend of iconic features. Mount Jefferson and the Three Sisters float on the distant horizon:

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Albert Bierstadt’s massive 1865 painting of Mount Hood created a public sensation

[click here for a large version]

This massive painting measures ten feet wide by six feet tall, and created a sensation with the American public when it was unveiled. In 1876, it was one of six monumental paintings selected by Bierstadt for display at the Paris World’s Fair, bringing Mount Hood to international fame.

The painting was one of many portraits of Mount Hood that become part of the public’s imagination of the West, finally putting a face on the towering icon that settler accounts had described at the end of the Oregon Trail. Today, this painting can be viewed at Gerald Peters Gallery in Santa Fe, New Mexico.

This stunning work shows the mountain and Gorge in much more detail than his earlier studies. Mount Hood’s most familiar features — Barrett Spur, Yocum Ridge and Illumination Rock — are detailed, along with Multnomah Falls, Latourell Falls, Phoca Rock and Sherrard Point atop Larch Mountain.

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Detail from Bierstadt’s “Mount Hood” (1865)

The Gorge peaks are oddly deforested in this view. While logging in the Gorge cleared most of the slopes around Larch Mountain by the end of the 1800s, the forests probably would have been much more intact in 1865, when access to the Gorge was still extremely limited, so the barren slopes are more likely artistic license. Yet, Bierstadt did include trees in the foreground that are true to the Gorge, with rugged conifers typical of ancient Douglas fir that have survived the extreme Gorge elements, twisted white oaks and a billowy group of bigleaf maple in the right foreground.

In 1869, Bierstadt completed what to many is his ultimate masterpiece of Mount Hood: a smaller (five feet wide by just over four feet tall), more refined version of his 1865 work that brings all of the elements of the earlier painting with much more dramatic, evening light.

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Albert Bierstadt 1869 refinement of his more famous 1865 Mount Hood portrait

[click here for a large version]

This final piece is housed right here our very own Portland Art Museum, and worth the price of admission, alone. Bierstadt’s final take on our mountain remains the most glorious of the Romantic period paintings of Mount Hood.

While it’s easy to critique Bierstadt’s creative rearranging of geography, it’s also understandable: visitors today still seek that “perfect spot” where all of the pieces of the tableau that make up the Gorge and Mount Hood experience.

The view from Sherrard Point on Larch Mountain comes close, for example, with its 360-degree view encompassing the Gorge, Columbia Delta, Mount Hood, the string of big Cascade volcanoes in the distance and the craggy top of Larch Mountain and its magnificent stand of Noble fir filling the foreground. A mind’s eye recollection of the view of being there brings all of these pieces together as part of the memory, just as Bierstadt combined elements in his paintings that were about the experience of being there, not simply documentation of the elements.

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A closer look at Bierstadt’s 1869 masterpiece shows Multnomah Falls (left), Latourell Falls (center), Larch Mountain and Sherrard Point (center right) and Mount Jefferson in the distance

Mid-1900s Mount Hood Loop Highway visitors picked up postcard folios at souvenir stands and roadhouses along the loop looking to capture their memory in a similar way. These little booklets contained a series of cards showing off the most iconic spots in the Gorge and on the mountain that a visitor might have seen in a day spent driving the loop, but just as Bierstadt rearranged scenic elements, the folio covers of these postcard collections often blended the images to create a mosaic that pulled all of the pieces together.

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1940s Loop Highway Postcard Folio

More recently, cartographic artist Jim Niehues created a magnificent, modern-day mental map of the area with just enough cartographic license to capture the feeling of being there, while still preserving the basic geography of the Gorge and mountain.

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Like Bierstadt before him, Jim Niehues brought a mind’s eye view of Mount Hood and the Gorge together in this stunning piece of cartographic art

Bierstadt visited the region long before the south side of Mount Hood had become the focus of tourism in the 1920s, with the arrival of the loop highway. Instead, his visits took him to the north side of the mountain to points along the Columbia River and in the Hood River Valley that were accessible by rail.

It’s unknown if he actually visited the slopes of the mountain on his visits in the 1860s and 70s, when his famous works of Mount Hood were created, but Jack Grauer’s “A Complete History of Mount Hood” shows Bierstadt visiting Cloud Cap Inn in 1890. According to Grauer, Bierstadt is third from the right in this rare photo, wearing a light hat:

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Closer views suggest and older and grayer Bierstadt:

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Albert Bierstadt would have been 60 years old at the time of this visit. Clearly, this trip shows that he remained an intrepid explorer in his later years. The trip to Cloud Cap Inn, which had opened just one year prior, entailed a train ride from Portland to Hood River, where the horse-drawn Cloud Cap Stage was waiting to take visitors on a rugged, five-hour ride up the mountain to the lodge that was not for the faint-of-heart.

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Albert Bierstadt stood here!

Today, you can still see the ruts of the original stage road that led to the inn at grades in excess of 20 percent. Since the 1940s, a new road has criss-crossed the original stage route in a graded series of switchbacks, allowing modern-day visitors to marvel at the ordeal that earlier visitors like Bierstadt endured on the way to Cloud Cap!

Bierstadt’s Other Works in the Region

While Bierstadt’s epic paintings of Mount Hood were widely known and celebrated, his rendering of Multnomah Falls is less known, possibly because it came later in his career, and at just 3 by 5 feet, was relative “small” compared to his huge panoramic scenes. Bierstadt captures Multnomah Falls with much literal accuracy on a typically misty autumn day:

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Bierstadt’s “Multnomah Falls” (late 1800s)

[Click here for a large version]

Today, Bigleaf maples still frame the falls in gold in autumn, but Bierstadt did add a rocky bluff beyond the falls to add depth to the painting:

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Though this painting is undated, Bierstadt likely created it before a log bridge spanning the lower falls was built in the early 1880s:

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The stream detail in the foreground gives a sense of what it must have been like to approach our tallest waterfall in its truly wild state, before today’s developed paths and viewpoints were built:

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Bierstadt painted the Columbia River as a foreground for most of his Mount Hood scenes, but surprisingly, a view down the Columbia Gorge from near Crown Point was not one of his subjects. This undated Bierstadt painting of the Columbia captures a scene that may be on the east side of the Cascades in desert country, perhaps in the vicinity of today’s Horsethief Butte State Park, looking west:

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Albert Bierstadt’s Columbia River scene

If Bierstadt did make it to the mid-Columbia region, it’s unclear whether he visited Celilo Falls. It surely would have provided all of the elements for one of his panoramic paintings, complete with a Native American villages and fisherman working the salmon runs, yet there are no paintings of Celilo among his works.

Instead, we can only wonder what his take might have been, perhaps alogn the lines of Thomas Moran’s stunning portrayal of “Shoshone Falls” (1900) on the Snake River:

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Thomas Moran’s “Shoshone Falls” (1900)

Bierstadt painted several of the big Cascade Mountain volcanoes, including this view of Mount Adams, perhaps inspired by alpine meadows above Takhlakh Lake the mountain’s west side:

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Albert Bierstadt’s “Mount Adams” (1875)

He made a few paintings of Mount St. Helens, all from the shore of the lower Columbia River. This scene shows Mount Adams (or possibly Mount Rainier) peeking over the shoulder of St. Helens:

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Albert Bierstadt’s “Mount St. Helens” (date unknown)

Bierstadt painted mighty Mount Rainer from the tidal flats of Puget Sound, near Tacoma, in a scene that includes our native Madrona trees (on the left), a nice touch of literal accuracy:

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Albert Bierstadt’s “Mount Rainier” (date unknown)

Finally, for avid hikers this small, untitled Bierstadt piece sure looks like Mount Jefferson as viewed from northwest of Jefferson Park, above the Whitewater trail:

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Untitled Bierstadt piece — is this Mount Jefferson?

At the time Bierstadt was in Oregon, this would have been a remarkably rugged, remote area for anyone reach, so it’s probably more likely coincidence that this so closely resembles Jefferson, but who knows? Maybe we will discover another undocumented chapter in his travels in the future.

The Other Painters

There were many fine paintings of Mount Hood made by other artists during the 1800s, when Bierstadt was visiting the region. Explorer and self-taught artist Paul Kane is best known for his early portraits of native people in the West. Kane was among the earliest to arrive in Mount Hood country and paint the mountain while spending the winter of 1846 at Fort Vancouver.

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Paul Kane in the 1840s

Among Kane’s best known work is a scene depicting Chinook people living along the lower Columbia River in the early 1850s, with Mount Hood as the backdrop:

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Paul Kane’s “Chinook Indians in front of Mount Hood” (1850s)

John Mix Stanley was another prominent explorer and self-taught painter who visited the region. Stanley first came west in 1842, and was known for his portraits of Native American life captured during the first half of the 1800s.

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John Mix Stanley

His 1855 lithograph of Mount Hood shows tribal life along the Columbia, as viewed from near The Dalles:

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In 1865, a fire at the Smithsonian destroyed much of his work, and Stanley set about recreating some of the most memorable scenes from his travels in the West from sketches and memory.

His trip through the Columbia Gorge by boat in 1853 apparently made a special impact on Stanley, and his 1870 “Mountain Landscape with Indians”, captured these memories in composite. This painting was also likely inspired by the success of Bierstadt’s panoramic 1865 view of Mount Hood, as well:

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Stanley’s first rendition of Mount Hood from the Columbia River (1870)

In 1871, Stanley created a much larger (five by eight feet!) version of the same scene with a more stylized Mount Hood. This masterpiece blends the west face of Mount Hood, familiar as the view on Portland’s skyline, and elements from throughout the Gorge, including a Native American village:

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Stanley’s panoramic 1871 masterpiece of Mount Hood and the Columbia River

[click here for a large version]

Boston artist Robert Swain Gifford created a somewhat bizarre version of Mount Hood in 1874 that continues to circulate widely today as a collectable print:

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R.S. Gifford’s stylized 1874 take on Mount Hood

This exaggerated view attempts to capture the mountain from the north side, in the vicinity of Hood River, but is oddly cartoonish in comparison to other, more realistic works that were being created at that time.

In the 1880s, Gifford created this much more accurate etching of Mount Hood from the Columbia River narrows at The Dalles:

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R.S. Gifford’s 1880s engraving of Mount Hood from The Dalles

Though he was not known for his western art, Gifford’s 1880s rendering of Mount Hood has been widely published and remains popular with print collectors today.

Another painter by the name of Gifford (though unrelated) was Sanford Robinson Gifford, another Hudson River School artist. Sanford Gifford created this dreamlike view of Mount Hood and the Columbia River in 1875:

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Sanford Robinson Gifford’s “Mount Hood” (1875)

Sanford Gifford’s scene is not too far from reality, with elements that nearly exist in reality as viewed from the north side of the river near today’s Washougal.

Artist Frederick Ferdinand Schafer was a German immigrant with a studio in San Francisco. He painted scenes from throughout the West, including this view of Mount Hood described as being from The Dalles:

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Ferdinand Schafer’s “Mount Hood” (date unknown)

Schafer worked from field notes and sketches, which might explain why this scene “from The Dalles” looks nothing like the area. Instead, this perspective of the mountain could be from the upper Hood River Valley, possibly merging the canyon of the East Fork Hood River with the mountain as it appears from the valley. The trees on the right look a lot like mountain hemlock, though they might be inspired by Ponderosa pine that are found through the east Gorge.

Connecticut painter Gilbert Munger was another student of the Hudson River School, and a friend of John Mix Stanley. Munger served as an engineer in the Civil War, and traveled west after the war as part of an emerging movement of more literal, grounded landscape painting that adhered to geographic accuracy.

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Gilbert Munger in the 1870s

Munger painted at least two versions of Mount Hood in the 1870s that show his characteristic attention to accuracy, both from the Hood River area:

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Both of Munger’s pieces faithfully show the iconic, open foothills that define the east Gorge today from Hood River eastward. His paintings have enough detail to show the Eliot Glacier on Mount Hood’s northeast slope with surprising accuracy for the time.

San Francisco artist Julian Walbridge Rix created one of my favorite early paintings of Mount Hood, an 1888 scene from the Hood River area that faithfully captures both the geography of the mountain and the local geology and ecology of the east side forests:

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“Mount Hood” (1888) by Julian Rix

Rix was a member of San Francisco’s Bohemian Club and may have been encouraged by Albert Bierstadt as he began his landscape painting career in the 1870s.

A truly pioneering painter who should be more celebrated here in Mount Hood country is Grafton Tyler Brown. He painted in the late 1800s, and was notable as the first African American painter to work in the Pacific Northwest and California. Brown was born in Philadelphia, where his father was a freeman and abolitionist.

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Grafton Tyler Brown in his studio

Brown moved to San Francisco while in his twenties and working as a lithographer. He later lived in Portland and Victoria, British Columbia during his painting career. Brown painted at least two surviving paintings depicting Mount Hood. The first was completed in 1884 and shows a bright scene along the Hood River, near the town of Hood River:

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Brown’s “Mount Hood” (1884)

The detail on this piece looks almost like it was painted with modern acrylics.

A later piece completed by Brown in 1889 shows a classic Columbia River scene near The Dalles with Mount Hood reflecting in the river:

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John Englehart arrived later on the scene, painting western landscapes in the 1890s and early 1900s. In 1902, Englehart moved his studio from San Francisco to Portland, where he exhibited in the Lewis and Clark Centennial Exposition in 1905.

Englehart’s Mount Hood paintings follow the Hudson River School style, but the art world had moved on to European impressionism by the time he was creating these scenes, and he never attained the acclaim of earlier Hudson River artists.

This Englehart scene shows Barrett Spur on the left, suggesting a view from the west or northwest, perhaps along the Sandy River:

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Mount Hood scene by John Englehart

This Englehart painting is a different take on the mountain, with a river scene that seems too small to be the Columbia River, though there’s no reason to assume that the artist didn’t simply stylize that detail for the purpose of his composition:

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Englehart’s vision of Mount Hood… and the Columbia River?

These Englehart pieces appear to be from the 1890s.

Eliza Barchus was another pioneering artist based in Portland who made her name at the 1905 Lewis & Clark Exposition, where she won a gold medal for her landscapes. Barchus was widowed at the age of 35, and her artwork became the sole source of income for her family at a time when very few women were working artists. She ran a downtown studio in Portland and later expanded her business to include construction and homebuilding.

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Eliza Barchus in the 1890s

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Eliza Barchus in her Portland studio in the early 1900s

Barchus painted romantic scenes of Mount Hood, the Columbia Gorge, Multnomah Falls and many other familiar scenes here in Mount Hood country during her long life (she lived to be 102 years old).

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“Mount Hood” (early 1900s) by Eliza Barchus

William Samuel Parrott also had a studio in downtown Portland in the late 1800s, and specialized in Pacific Northwest landscapes. Like Munger, his paintings were geographically accurate, yet also captured the romantic sensibility of the Hudson River School. This Mount Hood scene by Parrott is in the Portland Art Museum collection, though not currently on public display:

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William Parrott’s rendering of Mount Hood (late 1800s)

There were other landscape artists working the Pacific Northwest during the late 1800s, but the public was moving on toward new trends in art. The popularity of the Hudson River style had faded from public favor by the turn of the 20th Century, replaced by interest in impressionism and other more modern artistic movements.

It’s not coincidental that the romantic landscape era of painting faded with end of the Western frontier, as the two were intertwined in the American imagination. But art from the era still offers a lasting sense of this remarkable period in our history in way that early photography or writing from the period don’t fully capture. Thanks to the vision and audacity of artists like Bierstadt, we can still experience what it felt like to live in that time of wonder and exploration.

Bierstadt is still inspiring our imagination…

Bierstadt died in 1902, twelve years after his last visit to Mount Hood. For many decades during the era of modern art, his work was dismissed and ignored as out of fashion, but he was rediscovered in the 1970s. His legacy has since been celebrated in popular art, including a couple of U.S. postage stamps in recent years.

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Bierstadt’s “Last of the Buffalo” celebrated by the U.S. Postal Service in 1998

Why the resurgence in interest? While Bierstadt’s work in the 1800s served to capture the pristine spectacle of the American West, today it serves as a reminder of what once what, and what might be — what should be — as we move into an new era of restoration in our country’s evolution.

There’s an ironic tragedy in the fact that Bierstadt’s career centered on celebrating the wild, unspoiled beauty of the west, yet culminated with “The Last of the Buffalo” a stark warning of what we had already lost — and what he had witnessed in the half-century he spent documenting the American West. We’ll never know if Bierstadt had misgivings about the effect his paintings had in spurring western migration, but he was clearly aware of the effects that white settlement of the West had wrought.

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One of Bierstadt’s many stunning takes on Yosemite appeared on this stamp in 2008

It’s also no accident that I’ve used Bierstadt’s Mount Hood masterpiece as the backdrop for the Mount Hood National Park Campaign website. In this magical piece, Bierstadt brought together the essential elements of what makes the Mount Hood area so unique, and so worthy of Park Service protection as a national shrine.

It’s true, much restoration is needed and a completely different management mindset is in order to bring Mount Hood and the Gorge back to their former ecological state. But Bierstadt’s dreamlike portrayal provides the perfect inspiration to aim for that lofty vision, and break away from our current, unsustainable path of incremental over-development and exploitation.

Postscript

A disclaimer from the author upon posting this article: while I’m an avid fan of the Hudson River School artists who traveled to the American West in the 1800s, I’m certainly no scholar on the subject! I welcome any corrections or additions that more knowledgeable readers might provide.

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The author on a recent visit to see the great western landscape paintings at the Smithsonian American Art Museum

This article has been in the works for about five years, as I’ve not only had to learn the subject matter, but was also surprised to discover that the life of Albert Bierstadt is poorly covered by historians. This may be due to his art falling out of favor by the time of his death in 1902, but hopefully the future will bring a more thorough look at this remarkable American.

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Bierstadt’s “Mount Hood” (1869) is on permanent display at the Portland Art Museum (courtesy Portland Art Museum)

In the meantime, make your own pilgrimage to the Portland Art Museum to see our very own Bierstadt Mount Hood masterpiece in person. You will surely be inspired by his timeless vision of our mountain!