Joseph John Englehart, Joseph John Engelhart, J. Englehart, J. Engelhart, J. Englehardt, J. Engelhardt, and Emblhart.
C.N. Doughty, C.C. Foucks, C. Williams, C.L. Willis, W.L. Willis, J. Cole, J. Delane, J. Enright, J. Gran, J. Grant, J. Hart, J. Lang, J.L. Monahan, Wm. J. Schon, and Ed Shroder.
Career
Englehart documented America's Western landscape and frontier during the late 19th and early 20th centuries. He was known for his landscape oil paintings of California and the Pacific Northwest. The style of landscape paintings by Englehart never brought the critical acclaim given to his contemporary landscape painters, such as those of the Hudson River School, including Albert Bierstadt and Thomas Moran. However he was successful as an artist, and his works are included in the collections of several museums.
California
John Englehart's career started during the popular 'California landscape paintings' period of the latter 19th-century. From the late 1880s until the turn of the century he maintained a studio in San Francisco on Clay Street. During those prosperous years he commuted to work from a residence across the San Francisco Bay in Oakland. He painted scenes of California, including various views of Yosemite Valley.
Pacific Northwest
;Tacoma In the late 1890s Englehart traveled and painted in the Pacific Northwest. He did many landscapes of the Tacoma, Washington area during this period. ;Portland In 1902, after San Francisco's art patrons' taste had moved on to European art, he opened a studio in Portland, Oregon. He spent a large part of his time there until 1904. He participated in the Lewis and Clark Centennial Exposition in 1905. In 1909, he was awarded a prize for a landscape painting in a New York exhibit.
John Englehart's style was Realism, focusing on being illustrative and descriptive. He did not emphasize an evocative or romantic style, such as Thomas Hill did, to paint "Not as it is, but as it ought to be." Englehart's landscape compositions had a goal to bring the viewer closer to an actual experience of 'being there.' For most of his paintings he avoided effets de soir, choosing the midday light over the 'romantic light' of sunrise and sunset. He also incorporated multiple viewpoints in his paintings to depict the scene.
