![]() ![]() "Nature and the American Vision," New-York Historical Society, April 4, 2008-January 25, 2009. "Nature and the American Vision," New-York Historical Society, March 13, 2005-January 25, 2008. Luman Reed Gallery: A History of Art Collecting in 19th Century New York," New-York Historical Society, March 16, 2004. "The Course of Empire: Thomas Cole and the Hudson River School Landscape Tradition," New York State Museum, Albany, NY, August 23-November 30, 2003. Durand and William Cullen Bryant," New-York Historical Society, October 24, 2000-February 4, 2001. "Selections from the Collection of Luman Reed," New-York Historical Society, 1988-2002. "The Beautiful, the Sublime, and the Picturesque: British Influences on American Landscape Painting," Bowdoin College Museum of Art, Brunswick, Maine, 1987, Cat. Washington University Gallery of Art, St. "Thomas Cole," Memorial Art Gallery of the University of Rochester, Munson-Williams-Proctor Institute, Albany Institute of History and Art, Whitney Museum of American Art, 1969, Cat. "Thomas Cole One Hundred Years Later," Wadsworth Athenaeum, Hartford, CT, November 23, 1948-Jananuary 2, 1949, Whitney Museum of American Art, New York, NY, Jananuary 8-January 30, 1949, Cat. Sanitary Commission, New York, NY, 1864, Cat. 89.Īrt Exhibition at the Metropolitan Fair, in Aid of the U. The Washington Exhibition in aid of the New-York Gallery of the Fine Arts, at the American Art-Union Gallery, 1853, Cat. The Gallery of the American Art-Union, 1848, New York, NY, Cat. Stuyvesant Institute, New York, NY, 1838, Cat. 147.Įxhibition History National Academy of Design, 1834, Cat. "Nineteenth-century American Paintings." The Magazine Antiques, Vol. ![]() Luman Reed's Picture Gallery: A Pioneer Collection of American Art (New York: Harry N. Published References Tim Barringer, Gillian Forrester, Sophie Lynford, Jennifer Raab, and Nicholas Robbins, Picturesque and Sublime: Thomas Cole's Trans-Atlantic Inheritance (New Haven: Yale University Press, 2018), 150.Įlla M. In the left foreground, three Italian peasants, idealized as rustic primitives, dance underneath the large enframing tree. The dominant features of the landscape are the Roman ruins, roadside shrines, and enframing umbrella pine and cypress trees underneath a vast blue sky reflecting the artist's experience of Mediterranean light. Cole's easel," and American Monthly Magazine agreed that it was "glorious."ĭescription An idealized, composite view of Italian scenery in horizontal format incorporating landscape and archeological elements from both the Mediterranean coast and the Roman countryside. The painting was exhibited at the National Academy of Design in 1834 and received enthusiastic praise from the New York Evening Post, which called the picture "the best that has ever passed from Mr. The artist and critic William Dunlap recalled that after seeing the painting, Reed asked Cole the price and Cole ventured, "I shall be satisfied if I receive $300, but I should be gratified if the price is fixed at $500." Reed replied, "You shall be gratified," thus beginning a liberal and productive, if all too brief, partnership. Low in the dust, and they who come admire thee, Yet I could weep, for thou art lying, alas! He affirmed his intentions by attaching the following verse from Samuel Rogers' poem "Italy" to the painting: In spite of signs of life in the distance, such as the small town on the lakeshore and sailboats on the water, Cole presented a somber view of Italy as an exemplar of decline. At the right a young man leans against a broken column, perhaps, with Cole, contemplating the passing of civilizations (though the artist added a comic note in the goat behind him that is trying to pull his coat down from the pillar). At the left an umbrella pine shades a ruined temple, and peasants dance before it, blissfully unaware that it signals the transitory nature of human glory. The artist seized the opportunity to impress his new patron with a rich mixture of the motifs that had engaged him there.Ĭole created a serene, harmonious composition that shows in influence of the seventeenth-century landscape painter Claude Lorrain. ![]() In 1833 he met the wealthy merchant Luman Reed, whose first commission for Cole was an Italian landscape. Cole responded strongly to the Italian landscape and particularly to its ruins, producing numerous sketches. The artist traveled to England, France, and Italy he spent several months in Florence and later visited Rome. Cole painted this work shortly after returning from a trip to Europe from 1829 to 1832. ![]()
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