威廉·布拉德福德(1823年4月30日—1823年4月25日)是美国浪漫主义艺术家画家,摄影师和资源管理器,来自就麻省附近的新贝德福德。他的早期作品关注许多船只在新贝德福德港的画像。1858年,他的绘画新贝德福德港日落时是包含在艾伯特Bierstadt具有里程碑意义的新贝德福德艺术展览。

他以绘画的船只和北极海景。他接着几个北极探险。艾萨克以色列海耶斯,是美国第一个画家把冰冻的北方地区。1862年,波士顿,他是一个美术老师查尔斯Dormon罗宾逊.

与所提供的资金罗格朗洛克伍德轮船上,布拉德福德前往北极豹1869年,伴随着摄影师约翰·l·多莫尔总督和乔治Critcherson。^[3]在他返回,布拉德福德花了两年时间在伦敦,在那里他发表了他的账户去北方,题为《北极地区,插图和照片在一个艺术探险格陵兰岛;由艺术家和描述性的叙述。(伦敦,1873)^[1][4][5][6]1874年,他当选了国家设计学院作为一个准会员。

他是相关的哈德逊河学校,而不是一个机构,而是一个非正式的群志同道合的画家。他采用了他们的技术,成为高度感兴趣的方式轻触水和它如何影响水面的外观和普通绘画的气氛。他构图平衡他的许多画作通过创建一个counter-subject边缘将深色,框架和抵消中心的better-lit主题。

William Bradford (April 30, 1823 – April 25, 1892) was an American romanticist painter,photographer and explorer, originally from Fairhaven, Massachusetts, near New Bedford. His early work focused on portraits of the many ships in New Bedford Harbor. In 1858, his paintingNew Bedford Harbor at Sunset was included in Albert Bierstadt's landmark New Bedford Art Exhibition.

He is known for his paintings of ships and Arctic seascapes. He went on several Arctic expeditions with Dr.Isaac Israel Hayes, and was the first American painter to portray the frozen regions of the north. In 1862, Boston, he was an art teacher to Charles Dormon Robinson.

With funds provided by LeGrand Lockwood, Bradford traveled to the Arctic aboard the steamship Panther in 1869, accompanied by photographers John L. Dunmore and George Critcherson.^[3] Upon his return, Bradford spent two years in London, where he published an account of his trips to the north, entitled The Arctic regions, illustrated with photographs taken on an art expedition to Greenland; with descriptive narrative by the artist.(London, 1873) In 1874, he was elected into the National Academy of Design as an Associate member.

He was associated with the Hudson River School, not an institution but rather an informal group of like-minded painters. He adopted their techniques and became highly interested in the way light touches water and how it affects the appearance of water surfaces and the general atmospherics of a painting. He compositionally balanced many of his paintings by creating a counter-subject and by placing darker colors around the edges, framing and counteracting the center's better-lit subject