This was yet another example of the development of American customs, and overall originality in the United States. Ralph Waldo Emerson May 25, - April 27, Ralph Waldo Emerson, a writer of many famous poems and essays during the 19th century, can be seen as one of the primary pioneers in the development of American Literature.
The long summer days are here, and your thoughts may have turned to spending some time in nature, sketchbook in hand. Here, you can immerse in nature as close by as New Haven and as far away as the California. In the s, the Hudson River School artists traveled to their favorite scenic spots in the Catskill, Adirondack Mountains and beyond, seeking out the same scenery we enjoy today.
Over the winter months in their studios, they transformed their sketches into luminous landscapes that had come to represent America and its abundant natural resources.
Thomas Cole, the founding father of the Hudson River School, imbues the land with even more power. Cole came to the United States at 17 from industrialized England.
He knew first-hand how modernization and urbanization could devastate open space and pollute cities. He believed Americans were at a decision-point. What would the future be like in this land? What the artist actually saw and what he chose to paint present the different choices. Inthe steamboat was invented, changing the navigation of rivers.
Now, timetables, not the wind and tides, dictated travel. Two hundred years ago, people were no different. They seized the opportunity to get out of New York City and into nature—for a picnic, a stroll in the woods—and still get back home the same day.
In The Clove, Catskills, Cole shows us a pristine, undisturbed world.
But in actuality, the area was over-run by hotels, places for a snack or tea, hiking trails, and tourists, tourists everywhere. Cole chose to show the land at its wildest, most undisturbed state. Indians were also recognized emblems of the New World America, considered closer to the land than Europeans.
In the 19th century, leading thinkers argued about the relationship of humans to nature. Cole was a Romantic. The artist shows his diminutive figure immersed in and over-powered by the vastness of nature. Yet from first-hand experience, Cole knew that humans could devastate the land, and his paintings serve as a plea to Americans to make different choices than the English.
The opportunity to preserve the land was still possible in this New Eden. The blasted tree Cole used in this early painting became the symbol for this entreaty he regularly repeated.
The foreground of a landscape, in the European tradition, represents the present as the section closest to the viewer. Cole places that tree where it cannot be avoided. He repeats the motif several times in the painting.
See how many you can find. The symbol represents the cycle of nature—death coexists with growing, verdant, abundant life.
Cole also uses the blasted tree as a warning. We, the viewers, are responsible for nature, to serve and cherish, not destroy it, as had already happened in his homeland.
This emblem emerged from the European landscape tradition Cole studied. Salvator Rosa, a 17th-century Italian painter, used the symbol in works like Rocky Landscape with a Huntsman and Warriors, with the same moralistic purposes—a reminder that life and death are all part of a natural cycle.
Take a look at how many paintings in the Martin Gallery use the blasted tree. There, on the right side, you will see it in two forms: John KensettRondout Creek,Oil on canvas, 15 x 24 in.
John Kensett, another prominent, second-generation Hudson River School artist, displays more subtlety than Cole did.
His blasted tree, also in the right foreground of Rondout Creek, dances with the light. Using gray, blue, and white paint strokes, Kensett depicts lichen growing up the bare bark, accentuating the tree shedding its last leaves, in his nod to Thomas Cole.
Paul Zimmerman Purchase Fund, Perhaps unintentionally, contemporary artist Valerie Hegarty incorporates a blasted tree into her work Melted West Rock with Branches. Hegarty counteracts the idea of the artist as maker, by focusing on destruction, including demolishing myths.Art Critique Paper 2 The Oxbow painted by Thomas Cole in is a painting of a landscape.
In observing the painting by Cole I notice that there are different types of lines throughout the painting. The Hydrologic Cycle and Desert Landscapes - Introduction This paper is a two-part essay involving the hydrologic cycle and a desert landscape.
The Oxbow, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm () Artist: Thomas Cole Artwork description & Analysis: Considered a masterpiece of American landscape painting from its first showing at the National Academy of Design in , Cole layered geographical fact with allegorical symbolism to create a deeply meaningful landscape.
Thomas Cole () was an English-born American painter who became both his adopted country’s first notable landscape artist and the founder of its first notable art movement, the Hudson River School.
Thomas Cole (–), arguably the greatest American landscape artist of his generation, is presented here in a new light: as an international figure, born in England, and in dialogue with the major landscape painters of the age, including J.M.W.
Turner and John Constable. painter Thomas Cole originally painted the work This was during the end of the Romantic period of art in Europe, but only the beginning of the flourishing of the Romantic Movement in American art.