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Thomas Cole
View of fort Putnam
mk218
1824-25
Oil on canvas
69.2x86.3cm
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Thomas Cole
Study for Dream of Arcadia
mk218
1838
Oil on wood panel
22.2x36.8cm
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Thomas Cole
View on the Catskill-Early Autumn
mk218
1837
Oil on canvas
99.1x160cm
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Thomas Cole
the course of empire destruction
mk247
1836,oil on canvas,39.25x63.5 in,100x161.2 cm,new york historical society,new york,ny,usa
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Thomas Cole
american lake scene
mk247
1844,oil on canvas,18x24 in,46x62 cm,detroit institute of arts,detroit,mi usa
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Thomas Cole
niagarafallen
mk248 cburcb, en mastare pnoramaliknamde landskap, var coles elev ocb bar utfort nagra underbara bilder i den romasntiska traditionen av det forindustriella usa. hans niagarafallen at erger det spektakulara fallet med em typ iskt inspirerad ocb masterlig gestning av ljus, rtmd ocb vatten.
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Thomas Cole
johannes doparen i vildmarken
mk248 malningen, som gjordes i new york efter coles bistoriska resa langs hudsonflonfloden ocb fore bans forsta besok i europa, ar ett praktexempel pa hudson river skolans gestaltning av den storslagna amerikanska vildmasrken, den imponerade inte bara pa resenarer med sina maktiga berg ocb valdiga vatt enfall utan fick dem ocksa att besinna guds narvaro i naturen.
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Thomas Cole
Zigzag bend
mk250 Year in 1836. Cloth on canvas, 130.8 x 193 cm. The Metropolitan Museum of Art in New York.
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Thomas Cole
Romantic landscape with Ruined Tower
Romantic landscape with Ruined Tower (1832-36)
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Thomas Cole
The Garden of Eden
The Garden of Eden (1828)
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Thomas Cole
The Oxbow
The Oxbow (The Connecticut River near Northampton) (1836)
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Thomas Cole
The Departure
The Departure (1837)
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Thomas Cole
The Return
The Return (1837)
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Thomas Cole
The Past (1838)
The Past (1838)
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Thomas Cole
The Present
The Present (1838)
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Thomas Cole
Italian Sunset
L'Allegro (Italian Sunset) (1845)
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Thomas Cole
Il Penseroso
Il Penseroso (1845)
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Thomas Cole
The Architect's Dream
1840 Oil on canvas, 136 x 214 cm Museum of Art, Toledo, Ohio Cole called Turner the prince of evil spirits, and he sought a form of expression for his megalomanic visions that at first sight looks more peaceful. In this painting the excessive size of the capital, on which the architect has reclined in reflection, only becomes clear on closer inspection. However, the reversal of the real conditions is intrinsically threatening, and this is hardly more peaceful than Turner's chaos. Artist: COLE, Thomas Title: The Architect's Dream , painting Date: 1801-1850 American : other
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Thomas Cole
The Past
Oil on canvas
40 1/2 x 61 1/2 in.
1838
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Thomas Cole
The Picnic
Oil on canvas
1846
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| Thomas Cole
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1801-1848
Thomas Cole Galleries
Thomas Cole (February 1, 1801 - February 11, 1848) was a 19th century American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism.
In New York he sold three paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where he visited the Catskill Mountain House and painted the ruins of Fort Putnam. Returning to New York he displayed three landscapes in the window of a bookstore; according to the New York Evening Post, this garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Among the paintings was a landscape called "View of Fort Ticonderoga from Gelyna". 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.
Cole was primarily a painter of landscapes, but he also painted allegorical works. The most famous of these are the five-part series, The Course of Empire, now in the collection of the New York Historical Society and the four-part The Voyage of Life. 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.
Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. Cole spent the years 1829 to 1832 and 1841-1842 abroad, mainly in England and Italy; in Florence he lived with the sculptor Horatio Greenough.
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