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The view Cole sought to paint was a particularly difficult one, as its panoramic breadth extended beyond the width of typical landscape paintings of the period. [1] To solve this problem, Cole stitched together two separate views from Mt. Holyoke, creating a synthetic, rather than a faithful, image of the scene. [7]
He was known for his romantic landscape and history paintings. Influenced by European painters, but with a strong American sensibility, [3] he was prolific throughout his career and worked primarily with oil on canvas. His paintings are typically allegoric and often depict small figures or structures set against moody and evocative natural ...
Thomas Cole (February 1, 1801 – February 11, 1848) was an English-born American artist and the founder of the Hudson River School art movement. [1] [2] Cole is widely regarded as the first significant American landscape painter. He was known for his romantic landscape and history paintings.
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Thomas Cole (1801–1848), The Oxbow, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm (1836), Metropolitan Museum of Art. The Hudson River School was a mid-19th-century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by Romanticism.
Allusive of the two boys near the fountain in the previous painting of the series, similarly clad in red and green, the discord may have foreshadowed a civil war. We can see the same colors in the red and green banners on different sides of the river; the green banners mostly on the temple side and the red banners predominantly on the palace side.
Considered a minor member of the Hudson River School, Moore later began painting in the Pre-Raphaelite style. He later became the first art professor at Harvard University, and the first director of the university's Fogg Art Museum. Moore was one of few watercolor painters in the Hudson River School, and was an early member of the American ...
As Cole's friend William Cullen Bryant sermonized in verse, so Cole sermonized in paint. Both men saw nature as God's work and as a refuge from the ugly materialism of cities. Cole clearly intended The Voyage of Life to be a didactic, moralizing series of paintings using the landscape as an allegory for religious faith. [citation needed]