![]() ![]() View of the Round-Top in the Catskill MountainsĤ7.3 by 64.5 centimetres (18.6 in × 25.4 in) New Britain Museum of American Art, Connecticut Scene from "The Last of the Mohicans," Cora Kneeling at the Feet of TamenundĦ4.5 by 89.1 centimetres (25.4 in × 35.1 in)Ħ4.1 by 89.2 centimetres (25.2 in × 35.1 in) The Last of the Mohicans: The Death of CoraĦ8.9 by 81.9 centimetres (27.1 in × 32.2 in)įine Arts Museums of San Francisco, California National Gallery of Art, Washington, D.C. The following list consists only of paintings documented in public collections. Today, Cole's works are held across a wide variety of major and national museums, with the Metropolitan Museum of Art, Museum of Fine Arts, Boston, and the National Gallery of Art having some of the largest collections. One of Cole's final landscapes, Cross at Sunset, was left unfinished after his premature death in 1848. His 1847 painting Prometheus Bound, based on the Greek myth, is believed by some analysts to express abolitionist sentiments. In 1842, he painted The Voyage of Life, another allegorical series, this time depicting the course of an individual's life. Later in life, Cole transitioned away from natural landscapes to focus more on works conveying religious or spiritual themes. His 1836 painting The Oxbow encompasses many of the themes from his earlier landscapes, juxtaposing untamed nature with "civilized" land. Completed in 1836, the series reflects nostalgia for pastoralism and Cole's personal opposition to US President Andrew Jackson. While in Rome, Cole formulated the concept for his most ambitious work yet: The Course of Empire, a series of five paintings following the rise and fall of civilization. From 1831 to 1832, Cole traversed Italy some of the classical ruins he visited made appearances in his paintings, such as Aqueduct near Rome (1832), Roman Campagna (1843), and Arch of Nero (1846). Most of his early works depict the wilderness, "the truly American forest", typically the Hudson River Valley and Catskills where he resided. One of Cole's first landscapes, Lake with Dead Trees (1825), was among those that first popularized his works in an 1825 exhibition. In the ensuing years, he shifted his focus to landscapes. ![]() Self-taught, Cole began painting portraits in 1822. His works, often seen as conservative, criticize the contemporary trends of industrialism, urbanism, and westward expansion. ![]() They are usually escapist, framing the New World as a natural eden contrasting with the smog-filled cityscapes of Industrial Revolution-era Britain, in which he grew up. His paintings are typically allegoric and often depict small figures or structures set against moody and evocative natural landscapes. Influenced by European painters, but with a strong American sensibility, he was prolific throughout his career and worked primarily with oil on canvas. He was known for his romantic landscape and history paintings. Cole is widely regarded as the first significant American landscape painter. Thomas Cole was an English-born American artist and the founder of the Hudson River School art movement. An 1837 portrait of Cole by fellow Hudson River School painter Asher Brown Durand
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