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Thomas Cole Photo

Thomas Cole

British-American Painter

Born: February 1, 1801 - Bolton-le-Moors, United Kingdom
Died: February 11, 1848 - Catskill, New York
Thomas Cole Timeline
"The painter of American scenery has, indeed, privileges superior to any other. All nature here is new to art."
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Thomas Cole Signature
"Art, in its true sense, is, in fact, man's lowly imitation of the creative power of the Almighty."
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Thomas Cole Signature
"...the most distinctive, and perhaps the most impressive, characteristic of American scenery is its wilderness."
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Thomas Cole Signature
"I am not surprised that the Italian masters have painted so admirably as they have: Nature in celestial attire was their teacher."
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Thomas Cole Signature
"I do not remember to have seen in Italy a composition of mountains so beautiful or pictorial as this glorious range of the Adirondack."
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Thomas Cole Signature
"...the poetical conception of a subject may not be difficult, for it is spontaneous; but to imagine that which is to be embodied in light, and shadow, and color - that which is strictly pictorial - is an accumulative work of the mind."
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Thomas Cole Signature
"Although American scenery was often so fine, we feel the want of associations such as cling to scenes in the old world. Simple nature is not quite sufficient. We want human interest, incident and action, to render the effect of landscape complete."
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Thomas Cole Signature
"The subject [of art] should be pure and lofty..., an impressive lesson must be taught, an important scene illustrated - a moral, religious or poetic effect be produced on the mind."
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Thomas Cole Signature
"Have you not found? - I have - that I never succeed in painting scenes, however beautiful, immediately on returning from them. I must wait for time to draw a veil over the common details, the unessential parts, which shall leave the great features, whether the beautiful or the sublime, dominant in the mind."
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Thomas Cole Signature
"Nothing is more disagreeable to me than the sight of lands that are just clearing with their prostrate trees, black stumps burnt and deformed. All the native beauty of the forest taken away by the improving man. And alas, he replaces it with none of the beauties of Art."
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Thomas Cole Signature

Summary of Thomas Cole

The paintings of Thomas Cole, like the writings of his contemporary Ralph Waldo Emerson, stand as monuments to the dreams and anxieties of the fledgling American nation during the mid-19th century; and they are also euphoric celebrations of its natural landscapes. Born in the industrial north-west of England, Cole moved to the United States as a young man, and from that point onwards sought to capture in paint the sublime beauty of the American wilderness. He is considered the first artist to bring the eye of a European Romantic landscape painter to those environments, but also a figure whose idealism and religious sensibilities expressed a uniquely American spirit. Indeed, despite his upbringing in Britain - or perhaps because that upbringing gave him a fresh perspective - his work continues to resonate as an exemplar of that spirit in the modern day.

Accomplishments

  • No one before Thomas Cole had applied the motifs and techniques of European Romantic landscape painting to the scenery of North America. In his works, we find the dramatic splendor of Caspar David Freidrich or J.M.W Turner transposed onto the Catskill and Adirondack Mountains. But whereas younger American painters such as Albert Bierstadt had come into direct contact with The Düsseldorf School of painting, and thus with the tradition in which they placed themselves, Cole was largely self-tutored, representing something of the archetypal American figure of the auto-didact.
  • Thomas Cole is seen as the founding father of the Hudson River School, a group of American artists who sought to depict the untainted majesty of the American landscape, particularly that located around the Hudson River Valley in New York State. Cole was the first to explore this territory, taking steamboat trips up the valley from the mid-1820s onwards, and his work became a touchstone for a whole generation of American artists including Frederic Edwin Church, Albert Bierstadt, and Asher Brown Durand.
  • In many ways, Cole's art epitomizes all contradictions of European settler culture in America. He was in love with the sublime wildness of the American landscape, and sought to preserve it with his art, but his very presence in that landscape, and the development of his career, depended on the processes of urbanization and civilization which threatened it. From a modern perspective, Cole's Eurocentric gaze on seemingly empty wildernesses which had, in fact, been populated for centuries, also seems troubling; where Native Americans do appear in his work, as in Falls of the Kaaterskill (1826), it is as picturesque flecks rather than characterized participants in the scene.
  • Cole's paintings often serve as warnings about the destructive course of human civilization, offering portents of the devastation of the natural world, and the ceaseless spread of industry, which the American project seemed to represent. A deeply religious man, Cole saw these processes as transgressing God's will in some way, and various of his works imply that a moment of judgement or catastrophe might be imminent.

Biography of Thomas Cole

Thomas Cole Photo

Raised in Bolton-le-Moors, Thomas was the only boy amongst the eight children born to parents Mary and James Cole. His father was a woolen manufacturer who often moved the family around during Thomas's childhood, in search of better employment. This peripatetic lifestyle provided various opportunities for the young artist, including an apprenticeship in a printshop in Chorley at the age of fourteen, where he learned how to engrave designs for calico fabrics, and a period of work as an engraver in Liverpool during 1817. Cole developed a love of nature in his youth, and would often take walks with his sister Sarah to admire the landscapes of the north of England.

Important Art by Thomas Cole

Lake with Dead Trees (Catskill) (1825)

Lake with Dead Trees is one of Cole's earliest works depicting the landscapes of the Catskill Mountains in south-east New York State. At the edge of a motionless lake, surrounded by dead trees, two deer are roused into action: one is poised and alert, the other leaps skittishly off to the right. Behind the dark wooded peaks sunlight streams through a cloudy sky.

Interpreted as a meditation on the nature of life, death, and the passage of time, this was one of five paintings exhibited in New York City in November 1825 on Cole's return from his first major trip along the Hudson Valley. Their acclaim amongst his contemporaries helped to ground his reputation as a painter of the American wilds; the writer William Dunlap purchased this piece, and published several articles praising Cole's self-taught painting techniques. Cole's career was advanced further around this time when he met the Baltimore collector Robert Gilmor Jr., who would become an important patron to the artist.

In terms of Cole's development as a painter, this image of untamed nature marks the start of his engagement with the Hudson River Valley as a source of inspiration. He once observed that "the most distinctive, and perhaps the most impressive, characteristic of American scenery is its wilderness", and, for the first time in North-American art, Cole brought the impulses of a European Romantic landscape painter to bear on that wilderness: compare this painting to the work of Caspar David Friedrich, for example. Indeed, of all the Hudson River School artists, Cole was the most interested in conveying the Northern-European Romantic concept of the Sublime, whereby the viewer loses themself in the perception of a landscape whose scale and beauty are both inspiring and fearful.

Expulsion from the Garden of Eden (1827-28)

This painting depicts the moment in the Book of Genesis when God expels Adam and Eve from the Garden of Eden. Rather than focusing on the naked humanity of the couple, however, Cole dwarfs them within a natural setting whose scale and majesty symbolize heavenly power. Counterintuitively, the painting should be read from right to left, since the Garden of Eden was traditionally located in the east: from where fierce shards of light seem to forcibly evacuate the couple. The surrounding landscape is highly allegorical, a visual expression of Pathetic Fallacy, with the bright, cloudless skies of Eden offset against the brooding, stormy skies to the right.

This relatively early work exemplifies Cole's interest in religious themes, and his desire to equate the unspoiled beauty of the American landscape with the manifestation of God's will. If works such as Lake with Dead Trees indicate the Romantic infusion in Cole's painting style, this work shows his affinity with the allegorical, Neoclassical landscape works of 17th-century European painters such as Claude Lorrain and Gaspard Dughet. Rather than depicting a version of a real landscape, in this case an imaginative landscape based on the American wilds forms the backdrop for a scene from mythical antiquity, each element of which is highly symbolically loaded. The framing and miniaturization of human activity within that larger scene is reminiscent of Neoclassical landscapes such as Nicholas Poussin's Landscape with a Man Killed by a Snake (1648).

Expulsion from the Garden of Eden and similar works were not well-received when they debuted, perhaps because the American public was not yet ready to embrace Cole's apparent departure from the Romantic landscape style for which he was already well-known. This painting was also criticized by some commentators as being too similar to an engraving produced by John Martin for an edition of Milton's Paradise Lost (1667). Nonetheless, the painting demonstrates the breadth of Cole's historical influences, and was revealing in bringing to the surface the significant religious undercurrent in his work. Cole would return to religious painting towards the end of his life after joining the Episcopal Church.

The Consummation of Empire (1836)

The Consummation of Empire is one of a sequence of five paintings entitled The Course of Empire commissioned by Cole's patron Luman Reed, created between 1833 and 1836. Each painting in the series depicts the same landscape at a different stage of the rise and fall of an imaginary civilization. This, the middle painting in the series, represents the apparent triumph of that civilization, a scene crammed with classical porticos, rotundas and statuary, with a happy, colorful procession of citizens passing over the bridge in the centre. A statue of Minerva, goddess of wisdom, stands to the right, but seems to be ignored by the hordes beneath.

In fact, the whole series was intended to serve as a warning about the over-weaning ambitions of Empire. Even this painting, which seems to depict that empire at the height of its power, anticipates its demise in the representation of a militaristic ruler carried aloft by the citizens. Later paintings in the sequence show the ruin of the city, and its eventual reclamation by nature, which in this image seems entirely subdued (as represented by the potted plant in the foreground). Anxious to create an epic series of paintings, and inspired by the Neoclassical masterpieces he had seen firsthand during his travels in Europe in 1829-32, Cole nonetheless showed his unique ability through The Course of Empire to capture the American spirit in his work. These paintings sound a note of both triumph - America had recently liberated itself from the British Empire - and caution: that the new state should not fall into the same traps as its European predecessors. More than that, the series seems to express Cole's anxiety about the encroaching threat of industry and urban expansion to the American landscape.

The art historian Earl A. Powell sums up the cultural significance of Cole's series in stating that "[i]n its totality, The Course of Empire represents a truly heroic moment both in Cole's career and in the history of American painting. It was a paradigm of the Romantic spirit - melancholy, grand in conceptual scope, and didactic and moralizing - and it succeeded in delighting its audience." The Course of Empire shows an artist at the height of his powers, whose grand scope summed up the spirit of a nation.

Influences and Connections

Influences on Artist
Thomas Cole
Influenced by Artist
Artists
Friends & Personal Connections
  • Henry Wadsworth Longfellow
    Henry Wadsworth Longfellow
  • No image available
    William Cullen Bryant
  • No image available
    James Fenimore Cooper
  • No image available
    William Gilpin
Movements & Ideas
Artists
  • George Inness
    George Inness
  • Albert Bierstadt
    Albert Bierstadt
  • Asher B Durand
    Asher B Durand
  • No image available
    Frederick Church
  • No image available
    Jasper Cropsey
Friends & Personal Connections
  • No image available
    William Cullen Bryant
  • No image available
    William Gilpin
  • No image available
    Robert Gilmor
  • No image available
    Louis Legrand Noble
Movements & Ideas
Open Influences
Close Influences

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Content compiled and written by Jessica DiPalma

Edited and revised, with Summary and Accomplishments added by Greg Thomas

"Thomas Cole Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Jessica DiPalma
Edited and revised, with Summary and Accomplishments added by Greg Thomas
Available from:
First published on 03 May 2018. Updated and modified regularly
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