The Artist Thomas Cole 's Life With The Beauty Of The Hudson River Valley

I believe Cole purposely avoided the appearance of unity in this painting. The separation between the two landscapes was not a peaceful transition. He wanted to show the diversity between the natural land from the cultivated land.

Cole has no restrain in describing the beauty of all the elements found in the American scenery. He talks about the mountains, the sky, the streams, the sunset, waterfalls, all of which are overflowing in richness, full of magnificence, and unsurpassed by any other. For Cole the scenery and nature are subjects which must be present in the souls of every American. While he considers himself and even others underserving of “such a birthright”, he is thankful for the beauties given to us by nature. Cole suggests to his audience that the reason behind him painting natural scenes relates to the experiencing of a particular emotional response while doing so. This is a response which can only be compared to a “calm religious tone”, full of “tranquility and peace.” Witnessing the beauties of the American scenery, anywhere one goes, makes one realize how “the sublime and beautiful are bound together in an indissoluble chain. In gazing on it we feel as though a great void had been filled in our minds.” Cole places great emphasis on the importance for all members of society to learn how to cultivate “a taste for scenery.” This can be achieved by appreciating the physical beauty of nature and the ability of said beauty to provide mankind with a different perspective about life and with

Even though Jacob Lawrence grew up in the Great Depression, he still became one of the more important artists of the 20th century. As a talented abstract painter with unique style, he loved to paint differently from many artists he admired. He used his art to contribute to the fight that ended segregation. He painted not to become famous, but to change the world.

The third painting from the Impressionist era is that of artist Joseph Mallord William Turner (British, 1775–1851). Turner’s “The Lake of Zug”, 1843 is a beautiful portrait painted in watercolor over graphite that were sketched based from Turner’s trip to the Swiss Alps. The color contrast is beautiful, the sight of the sun setting behind the mountains signifying the end of one day and the encouragement of another. The sun shines on the lake, with basking glows that illuminate the people and the surrounding mountings. This portrait fits the company image, because it shows that there is a beacon of light that still shines and brighten things around them. The

Instead of the motion of walking, I decided to paint the silhouette standing still because later in the novel, Cole realizes his mistakes and fixes them. If I painted the silhouette walking, then the painting won’t symbolize how Cole perceived his anger and fought to control it. Consequently, the painting shows the “Old Cole” but has a tint of the

Henry Darger was one of the innovators in collage art, and as a collage artist I have an extreme respect for his innovation in the field. Darger was extremely reclusive during his lifetime and his vast catalog of work (including a 15,145 fully illustrated manuscript) was only discovered until after his death. I was a huge fan of Darger's work at first sight. His use of color and collage astounded me, Darger's work was confusing, colorful, and some what terrifying. Which was everything I wanted to be as an artist. Darger's existence on the fringe of the art world, and his disdain for the concepts of art galleries and the mainstream art culture at the time, really spoke to me as an artist.

I want to pay specific attention to how Cole utilizes the complex binary opposition between light and dark as well as the juxtaposition of the colors green and beige to reflect the dichotomy between decadence and authenticity. The first painting in the five-part series is The Savage State (Fig.1) which depicts a place and time where nature is at its most pure form untainted by the follies of humanity. This notion of natural purity is exemplified by his composition balancing shadows on the left with light sky and shore on the right. Through balancing the light and dark he argues that this state of the Earth has the greatest natural balance; light and dark coexist but neither overpowers the other. Second in the series The Pastoral State (Fig.2) juxtaposes the first painting by having more lightness, greenness, and the introduction of a megalithic temple with a beige color. This juxtaposition exemplifies the notion the balance between light and dark is an indicator of natural harmony, and the color beige is an indicator human vanity. The Pastoral State(Fig.2) is lacking natural harmony but, it also lacks vanity so the empire depicted is still relatively ideal from the transcendentalist viewpoint. Following The Pastoral State(Fig.2) is The Consummation of Empire(Fig.3) which depicts an incredibly bright Empire composed of grand architecture and statues. Cole literally depicts the decadence of the civilization by covering it gold colored paint. He also progresses the notion that the beige color alludes to the natural imbalance of the Empire as well as an increase in human vanity. Eventually the imbalance must find a way back to balance and the empire crumbles in a dramatic fashion in Destruction(Fig.4). Once again, the light to dark duality is balanced and the green in the river battles the beige of the carved

There is one prominent artist that was known to be inspiration of Cole’s work named Asher B. Durand. Asher B. Durand was an artist born in Maplewood, New Jersey and shared the same style of art the Thomas did, Asher was a matter of fact the one to discover Thomas after Thomas’s catskill painting collection, their aspirations to do big things and connected style of art led both Asher and Thomas to become best friends through the durations of both of their lives. The second inspiration of Thomas’s work was the landscapes that he saw when traveling throughout Europe and the United States, many of his most famous painting present a beautiful landscape but with a story, it was as if he took the landscape and made it a fantasy world. Between the years 1829-1831 Cole returned to the United Kingdom to study, spend time with his family and be closer to Italy and France, these years treated Cole very well as he built his reputation and stature in this duration. In the winter of 1835-1836 Cole proceeded on his work of Catskills working on the collection of paintings called “The Course of Empire,” but his views were more impactful with his concerns regarding the impact of industrialization and its impact on the beautiful landscapes that inspired his work. Thereafter in 1836 Cole met a woman in New York by the name of Maria Bartow and on the date November 22, 1836 Cole married her in the house where he resided in Cedar Grove, 2 years pass and on the date January 1, 1838 Cole and his wife Maria had then given birth to their first child named Theodore Alexander Cole. From here on Cole continued his work and noticed he was becoming a public figure the only problem was

The color used in this painting is not too obvious, it seems like a pretty dark colored painting when first looking at it. After further examination, I started to notice more colors that are throughout the piece. There is blue, which is part of the angel’s garment. In religious paintings, blue often symbolizes a sort of heavenly grace. This blue is also seen in the sky surrounding the figures, perhaps another symbol suggesting that Adam and Eve still have their innocence, for they are surrounded by a heavenly grace. White is also seen in the painting, both as a part of the angel’s wings and the clouds in the sky. White often symbolizes purity and innocence, yet another symbol that shows Adam and Eve have not yet been shamed from the garden. Another major color that stands out more than anything else is red, which is seen in the animals right next to Adam and Eve. This could possibly represent the presence

A self-taught artist, who lived on a bluff overlooking the Hudson River, he was an outdoor enthusiast. He would hike throughout the area in summer, fall, and spring, sketching the gorgeous scenes. In the winter, when his memory of specific settings faded, he would paint the crucial mood of a place with oil paints. Reflecting his working method, his finished work was a mixture of ideal and real. He blurred the distant vistas and painted the foreground in painstaking detail, which suggested the infinite American landscape. His work illustrated the proud belief that America was a fresh beginning for humanity; a primeval paradise (Strickland and Boswell 81). In addition, Cole inspired a group of painters that eventually became known as the Hudson River

What style did the artist work in? (This is noted for you at the beginning of this assignment).

In my eyes, I have the impression of seeing small strokes of purple and green. Another example would be the leaves on the first tree that is on the left side. On the tree leaves, I am able to see the impression of another color besides green and that it the color orange. The other Painting The Scream is a painting made of Tempera and oil paint on unprimed canvas and its dimensions are of 33’’ by 26’’. The artist of The Scream uses the technique of tempera and oil painting. The artist uses long swirling colors and lines all around the painting. The intensity of the colors makes viewers sense the emotional status of human in the painting. Another difference between this two paintings is what each painting represents. The painting A Sunday Afternoon on the Island of La Grande Jatte tries to show viewers how a weekend would be like for people in the working and middle class in the 19th century. In order to show this, the artist painted a Parisian park in which there are people from different genders and ages arranged in groups based

Albert Bierstadt (1830-1902) was an American artist and member of the Hudson River School. He was one of the first of the Hudson River Artist’s to paint beyond New York and see the unexplored west. Bierstadt’s paintings focused more upon the sublime in nature. His painting titled “Indian Summer Hudson River” was completed in 1861. It is oil on canvas painting, which measures twenty-four inches in height by forty-one inches wide.

In the painting, Cole uses many colors and symbols to illustrate the effect of the attack. An old sandy color bridge is cast upon the middle of the painting, which is crumbling apart and crashing into the water. The water in this painting is dark blue and white showing the choppiness of the water. In the middle of the painting is a white statue with its head broken off, but still standing, holding a black shield leaning forward towards the center of the painting. In the background, fire and gray and black smoke cover the landscape. The gray skies

the painting is a synthesis of numerous sketches made by the painter a year earlier in Collioure,