Progression of Art
Lake with Dead Trees (Catskill)
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.
Oil on canvas - Allen Art Museum, Oberlin College, Ohio
Expulsion from the Garden of Eden
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.
Oil on canvas - Collection of Museum of Fine Arts, Boston, Massachusetts
The Consummation of Empire
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.
Oil on canvas - The New-York Historical Society
View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm
Usually referred to as The Oxbow, this painting shows two very different aspects of the American landscape. To the left of the canvas, dense grey clouds hang over a forest of green trees; to the right, the Connecticut River meanders gently through cultivated fields under a blue sky.
A key painting in Cole's oeuvre, and arguably his best-known work, The Oxbow was created at a time when Cole was largely occupied with his Course of Empire series; his patron Luman Reed had advised him to take a break from that series, as Cole seemed to be showing signs of depression, and to return to the genre of Romantic landscape painting which he loved most of all. Whereas The Course of Empire stands as a stark warning on the fate of civilization, this painting presents a more complex, though still polemical, statement on the potential direction of American society. The uncultivated landscape to the left is at once threatening and enticing, while the cultivated land to the right presents an equivocal image of security, complicated by the presence of scar-lines in the forest on the far hills: signs of the aggressive over-husbandry of the land. Debate exists as to whether a written message can be made out in these marks, with some scholars believing that the lines were intended to spell out the word "Noah" in Hebrew, and would, from the aerial perspective of God, read "Shaddai" or "The Almighty". If that reading is accepted, then the landscape - which, after all, shows a floodplain - stands for the hubris of human society awaiting the cleansing force of divine judgement.
Cole personalized the work by depicting himself at the center of the canvas. Gazing back at the viewer from between two crags, the minute figure of the artist preserves the landscape on his canvas before it is lost, and, perhaps, invites our own judgement on the scene. This personal element reflects Cole's feeling of emotional connection to the work, which now stands as one of the most quintessential examples of mid-19th-century North American landscape painting.
Oil on canvas - Metropolitan Museum of Art, New York
The Voyage of Life: Youth
This work shows a young man rowing a boat down a tree-lined river, towards a ghostly white palace in the sky; on the shore to the left, a guardian angel watches over him, offering him protection on his journey. This is the second in a series of four paintings completed by Cole during 1842 depicting the various stage of man's allegorical journey through life. The other three represent childhood, manhood and old age, with compositional elements and motifs such as the boat, the river, and the angel recurring throughout. The four stages of human life are reflected in the passage of the seasons across the paintings, nature serving as a mirror for man's emotional condition, in quintessential Romantic style.
The Voyage of Life was commissioned by the banker Samuel Ward, and was meant to remind the viewer of the course that must be steered to secure a resting place in eternity. In so doing, these works tap into the cultural mood in America during the 1840s, when a period of intense religious revivalism was underway. At the same time, the 'voyage of life' may be read as an allegory for the progress of American civilization, which was, at this time, in a promising but uncertain stage of its growth. The compositional style exemplifies Cole's approach in combining rugged, American-style landscapes with motifs and techniques borrowed from European landscape painting in both the Neoclassical and Romantic styles.
So popular were the Voyage of Life paintings that they became a source of dispute between Cole, who wanted to keep them on public display, and his patron Samuel Ward, who wanted to keep them for his own private collection, even refusing to sell the paintings back to the artist. In the end, Cole created a second version of the series while visiting Europe in 1842. On a personal note, he had converted to the Episcopal Church in 1941, and these paintings are the best example of the religiously allegorical work which he produced during the last years of his life. Their place and significance within his oeuvre was summed up by William Cullen Bryant during his speech at Cole's funeral, when he described them as "of simpler and less elaborate design than The Course of Empire, but more purely imaginative. The conception of the series is a perfect poem."
Oil on canvas - The Munson-Williams-Proctor Institute, Utica, New York
The Architect's Dream
As its title might suggest, the focal point of this painting is the young architect resting on a pile of books in the foreground, atop a classical column. Carved in the column is the dedication "Painted by T. Cole, For I. Town Arch, 1840", indicating the work's creation for the prominent American architect and engineer Ithiel Town. The rest of the canvas is filled with grand architectural monuments, including a vast Greco-Roman portico, a pyramid shrouded in mist in the background, and a medieval cathedral to the left.
This work represents something of a stylistic departure for Cole, in that the natural landscape is not the primary focus. Offering instead a celebration of the history of architecture, Cole presents the young protagonist - presumably based on Town - admiring the great works of the past, implicitly suggesting that the American state, with the help of pioneers such as Town, might inherit and build on the cultural traditions which those works represent. Discussing this aspect of the painting the art historian Matthew Baigell states that "the architect, like the artist, fulfilled his function in society by calling to mind the highest achievements of the past as a way to guide society through the present and into the future. Such a point of view suggests a specific interpretation of the concept of Manifest Destiny - that America might become the new Rome, an improved version of European civilization, rather than a promised land for the chosen people, a new civilization separate and distinct from Europe."
This painting also reflects Cole's own interest in, and occasional practice of, architecture: in 1938 he entered a competition to design the Ohio Statehouse in Columbus, and he produced similar sketches and plans throughout his life. In this sense, the work, like the early portraits which Cole also composed, represents an element of his creative practice which is occasionally forgotten because of the central importance granted to his landscape works.
Oil on canvas - Toledo Museum of Art, Toledo, Ohio
This painting depicts an idyllic scene of outdoor leisure activity, set amongst a glade of trees. To the left, a group of figures sits listening a man playing a guitar. Other, smaller clusters of people seem to have broken off from the central group, and sit on blankets eating and talking. On the lake in the background, a boat is rowed to the shore.
Painted during the last years of the artist's life, this work is one of several created by Cole which present a very different aspect of the American landscape to the desolate wildernesses explored earlier in his career: the wild landscape has been tamed, converted into a picnic site. In one sense, this seems to imply an earnest celebration of the harmonious interaction of human activity and the natural environment; the scene has something of the quality of the Arcadian landscapes depicted in 16th-century Neoclassical painting. At the same time, features such as the hacked-off tree-stump in the foreground suggest a more ironic or resigned attitude to the presence of humankind amongst the wilderness. Certainly, the notion of the Sublime is no longer conveyed, and the work has a more composed, narrative quality than Cole's earlier landscape works.
As a man who felt that "art, in its true sense, is, in fact, man's lowly imitation of the creative power of the Almighty," Cole must have struggled to come to terms with the progress of American society responsible for this kind of order. Indeed, it may have been his sense of the inevitable loss of his beloved wilderness that drew him deeper into his faith in the years before his death.
Oil on canvas - The Brooklyn Museum, Brooklyn, New York