He incorporated allegory and symbolism in his works to convey … He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Thomas Cole (1801–1848) was a British-born American artist and the founder of the … The artist’s marriage brought with it increasing religious piety manifested in the four-part series The Voyage of Life (1840). 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.In many ways, Cole's art epitomizes all contradictions of European settler culture in America. Young America: Treasures from the Smithsonian American Art Museum commemorates “Treasures to Go,” a series of eight exhibitions from the Smithsonian American Art Museum, which toured the nation through 2002. He traveled around the country, creating signs and portraits in exchange for lodgings, then returned to Pennsylvania to study at the Academy of the Fine Arts. Thomas Cole (February 1, 1801 – February 11, 1848) was an English-born American painter known for his landscape and history paintings. The region around Rome, along with the classical myth, also inspired The Titan’s Goblet (1833). Thomas Cole made many references in his paintings to the biblical Flood. We are not announcing a reopening date at this time and will provide updates on our websites and social media. In New York, Cole sold five paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where the artist produced landscapes featuring the Catskill Mountain House, the famous Kaaterskill Falls, the ruins of Fort Putnam, and two views of Cold Spring. For instance, Thomas Cole did not always sign his works. Like [Washington] Allston and [Albert Pinkham] Ryder, Cole wrote poetry. He had seven sisters. Shall the spirit, that mysterious principle, unknown even to itself, that vivifies this earth, and generates these thoughts, sink also into the gloomy gulf of nonexistence, nor feel again created Beauty, nor see the Nature that it loved so much? Trumbull was especially impressed with the work of the young artist and sought him out, bought one of his paintings, and put him into contact with a number of his wealthy friends including Robert Gilmor of Baltimore and Daniel Wadsworth of Hartford, who became important patrons of the artist. “View of Round-Top in the Catskill Mountains,”1827, by Thomas Cole (1801–1848). Among the paintings was a landscape called View of Fort Ticonderoga from Gelyna. Thomas Cole, American Romantic landscape painter who was a founder of the Hudson River school. According to some accounts, the first fourteen years of Thomas’ life were spent in great misery. Although he achieved considerable success from his straightforward depictions of American scenery, his greater ambition was to convey the word of God through sublime landscapes. Cole was born in Lancashire, England, and at the age of seventeen, he arrived with his family in Philadelphia. As a young artist [Thomas] Cole roamed the Hudson River valley and the region around the Catskill and Adirondack mountains, making sketches of the shrubs, trees, rocks, and waterfalls that he later incorporated into his own imaginative compositions to depict the look and feel of America’s wilderness. Because he was the first American artist to picture the wilderness with the passion of a poet and to capture its spaciousness and grandeur with technical skill, Cole exerted a strong influence on the new direction landscape painting was to take. Speaking more broadly, a whole sweep of 20th-century North-American art, from Precisionism to Land Art, might be seen to have inherited something of the grand scale and ambition of Cole's work. Thomas Cole was born on February 1, 1801, in the town of Bolton-le-Moor in Lancashire, England, into the family of James Cole, a woolen manufacturer, and his wife Mary. In 1825 he sold three landscape paintings and that summer he took his first sketching trip up the Hudson River. The Great American Hall of Wonders is a vividly illustrated survey of the American ingenuity that energized all aspects of nineteenth-century society, from the painting of landscapes and scenes of everyday life to the planning of scientific expedition and the development of new mechanica. The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. Cole had a keen interest in geology throughout his life (Bedell, 349). He soon moved on to Philadelphia to pursue his art, inspired by paintings he saw at the Pennsylvania Academy of the Fine Arts. His family moved along with him. It cannot be. Among Cole's other famous works are the Oxbow (1836) (pictured below), the Notch of the White Mountains, Daniel Boone at his cabin at the Great Osage Lake, and Lake with Dead Trees (1825) which is at the Allen Memorial Art Museum. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. His only pupil was his neighbor in Catskill, Frederic Church. Fine Art / Getty Images. Immigrant Thomas Cole used landscape painting to express the hopes of a young America. Cole spent the years 1829 to 1832 and 1841 to 1842 abroad, mainly in England and Italy. 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 legacy is evident in the work of future American artists who advanced the Hudson River style, including his student Frederic Edwin Church, Albert Bierstadt, Jasper Cropsey, Asher B. Durand, George Inness, John Kensett, and Thomas Moran. Cole's work is known for its romantic portrayal of the American wilderness. 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. As was typical, he did not execute the painting directly from nature; his letters indicate that he finished it in London the following year. In 1844, Cole welcomed into his Catskill studio the young Frederic Church, who studied with him until 1846 and went on to become the most renowned exponent of the generation that followed Cole. Cole received rudimentary instruction from an itinerant artist, began painting portraits, genre scenes, and a few landscapes, and set out to seek his fortune through Ohio and Pennsylvania. Thereafter he painted many Italian subjects, like View near Tivoli. Cole had taught himself to sketch and paint, and worked for a time painting portraits in Philadelphia, Pittsburgh and even Ohio. There are no fallacies with God. “The sky is the soul of all scenery. Thomas Cole was born on February 1, 1801, in Bolton, Lancashire, England, to Mary and James Cole. There are two versions of the latter, one at the National Gallery in Washington, D.C., the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. A flow of melancholy thoughts and feelings overwhelmed me for a time. In addition to his landscape scenes, he produced three series of monumental paintings that expressed his Christian faith and the role of religion in the cycles of human history. In Rome he occupied the studio of Claude Lorrain, the famous seventeenth-century French artist, whom Cole considered ​“the greatest of all landscape painters.” In 1836 he returned to America and married Maria Bartow of Catskill, where he then set up his studio and residence. Born in 1801, Thomas Cole and his family moved to America from Britain, the birthplace of the Industrial Revolution, in the early 19 th century. To prove that, if not to disprove all existence, would be to render all things doubtful.”, Jane Dillenberger and Joshua C. Taylor The Hand and the Spirit: Religious Art in America 1700–1900 (Berkeley, Cal. Born in Bolton le Moors, Lancashire, in 1801, Cole emigrated with his family to the United States in 1818, settling in Steubenville, Ohio. Thomas Cole was an American 19th Century painter who was born in 1801. Not only did Thomas Cole paint the lush mountain landscapes that inspired the Hudson River School art movement of the 19th century, he also painted on the walls of his home. Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. In 1842 he joined the Anglican Church. However, he is known for visible brushwork and sublime features in his landscapes including broken tree branches, rocky outcroppings, and dramatic atmospheres; moreover, his developed skies have dimension and are not flat. Cole’s family immigrated first to Philadelphia and then settled in Steubenville, Ohio. In this sense, his paintings capture not only the character of American culture during the mid-19th century but perhaps something more enduring about the open and expansive quality of that culture. The exhibition Thomas Cole’s Journey: Atlantic Crossings takes a new look at the artist and his legacy, and in the process, rethinks the emergence of landscape painting in the United States in the nineteenth century in a global context. Dunlap publicized the discovery of the new talent, and Cole was welcomed into New York’s cultural community, which included the poet and editor William Cullen Bryant and the author James Fenimore Cooper. What Trumbull recognized in the work of the young painter was the perception of wildness inherent in American scenery that landscape artists had theretofore ignored. In the early 1800’s, scientists still believed that natural geology could be explained as effects of the Flood. Thomas Cole's "The Course of Empire - Consummation," 1836, oil on canvas, 51 × 76 in, New York Historical Society. Even as Cole expanded his travels and subjects to include scenes in the White Mountains of New Hampshire, he aspired to what he termed a “higher style of a landscape” that included narrative—some of the paintings in paired series—including biblical and literary subjects, such as Cooper’s popular Last of the Mohicans. Asher Brown Durand’s “Kindred Spirits,” from 1849, is a tribute to his friend and mentor Thomas Cole, upon his death in 1848. By 1846, Cole was at work on his largest and most ambitious series, The Cross and the World, but in February 1848 contracted pleurisy and died before completing it. Cole found work early on as an engraver. Moving to New York City in spring 1825, Cole made a trip up the Hudson River to the eastern Catskill Mountains. In 2014, friezes painted by Cole on the walls of his home, but which had been decorated over, were discovered. He was trained by an itinerant portrait painter named Stein and then spent two years at the Pennsylvania Academy of Morning (1832). A leaden hue overspread the vale, the woods, and the distant mountains. Smithsonian American Art Museum and Renwick Gallery. Disclaimer: www.Thomas-Cole.com is a personal website covering the career of Thomas Cole, but is in no way an official website for Thomas Cole and www.Thomas-Cole.com does not claim to be that in any way. The south wind, I thought, would still continue to blow, and bring up its dark clouds for ages after my works, and all the reputation I might gain had faded away, and become as though they had never been— swept by the wing of time into oblivion’s gulf. At first glance, The Oxbow and The Consummation of Empire, two masterpieces by Thomas Cole prominently featured in the exhibition Thomas Cole's Journey: Atlantic Crossings, seem entirely unrelated paintings, both in subject and content. He also kept a journal and wrote lengthy letters to his wife, friends, and patrons. The present autumnal scene is likely derived from a sketch made during this trip. Cole's work is known for its romantic portrayal of the American wilderness. He helped America vision a society with possibilities, opportunities, and abundance of resources. Three of his first paintings were purchased by well-known artists, which helped establish his reputation rapidly. Cole also continued to paint, with ever-rising technical assurance, sublime American scenes such as the View from Mount Holyoke (1836), The Oxbow (1836), in which he included a portrait of himself painting the vista and View on the Catskill—Early Autumn (1836-1837), in which he pastorally interpreted the prospect of his beloved Catskill Mountains from the village of Catskill, where he had moved the year before and met his wife-to-be, Maria Bartow. … The south wind blew strongly, and dark masses of cloud moved across the twilight sky, the heralds of approaching storm. Thomas Cole (February 1, 1801 – February 11, 1848) was an English-born American painter known for his landscape and history paintings. This garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Returning to New York, he displayed five landscapes in the window of William Colman's bookstore; according to the New York Evening Post the two views of Cold Spring were purchased by Mr. A. 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