In the early 19th century, the United States of America was still a newborn nation. As Americans turned their eyes Westward, a new and uncertain future awaited them. The North American continent was far from fully explored, and America’s identity was still in the process of self-discovery. Artists of the Romantic era in America—and particularly Thomas Cole—made it their mission to capture the divine essence of an untamed wilderness on canvas, while also striving to imbue their landscapes with contemplative and historical significance.
Regarded as the leader of the Hudson River School of Romanticist painters on the East Coast, Cole led the charge by creating paintings that began to give America an artistic identity, distinct from European art. Ranging from picturesque to allegorical landscapes, Cole wanted his work to embody the ineffable presence he found in the untarnished wilderness of America.
The clarity of the undeveloped West allowed Cole to contemplate the path that nations have historically taken, as they grow from a state of simplicity to become complicated and destructive empires. This line of thinking, and the Romantic desire to maintain balance with the natural world, led to the 1836 birth of Cole’s most beloved paintings: “The Course of Empire” series.
Commissioned by patron of the arts and connoisseur Luman Reed, Thomas Cole set out on his most ambitious project yet. In an early letter to Reed, Cole described his vision: “The philosophy of my subject is drawn from the history of the past, wherein we see how nations have risen from the savage state to that of power and glory, and then fallen, and become extinct. Natural scenery also has its changes—the hours of the day and the seasons of the year—sunshine and storm. These justly applied will give expression to each picture of the series I would paint. It will be well to have the same location in each picture: this location may be identified by the introduction of some striking object in each scene—a mountain of peculiar form, for instance.”
Cole’s quotation gives us a glimpse at the thoughtful ingredients that go into his artistic excellence: a deep appreciation of the natural world, a desire to meaningfully reflect on the historical arc of past civilizations, and compositional considerations that enhance meaning and cohesion throughout his proposed series.
The resulting works were heralded as “the highest genius this country has ever produced” by James Fenimore Cooper, first major American novelist, and author of “Last of the Mohicans.” Cole’s series continues to captivate audiences with its mastery nearly two centuries later. In many ways, “The Course of Empire” is even more relevant today, as we are forced to contemplate our relationship to corrupt institutions and where that is leading us.
The Savage State
Cole’s first painting in “The Course of Empire” series is an exploration of the natural landscape prior to the advent of “civilization.” “Savage” may not have had the serious connotations then as it does today, and it may have been more synonymous with “untamed.” Cole respected this simple way of life and its reverence for the natural world.
The scene is set in the light of early dawn, with the shadow of night still lingering behind trees and on the river below. Native Americans are depicted in a circle of teepees, on the river in canoes, and hunting deer in what appears to be wilderness abundant with wildlife. A formidable beauty is inherent throughout the landscape—a characteristic portrayal of the “sublime” in works of Romanticism.
The Arcadian or Pastoral State
In the beautiful second painting of the series, a pastoral civilization has formed in the peaceful light of early morning. The circle of teepees has been replaced with a stone temple, in which a large, central fire, and sense of ceremony, remains. Small wooden homes line the waterfront and wooden sailboats are out on the sea. An old man sits in the foreground drawing symbols or shapes, while a young child draws a soldier with a sword. Both bottom corners of the painting show tree stumps, where large trees were felled to create the houses and boats shown toward the center of the painting. Though the landscape has been manicured considerably, and the fierce wildness is gone, a pristine beauty remains.
The Consummation of Empire
The greenery and natural elements found in the previous two paintings have become almost totally absent in Cole’s third painting. A waterfront city, lined with Greco-Roman-columned structures, fills the canvas. Opulent sculptures, buildings, and fountains have replaced the trees, while stone walkways cover the dirt and grass. The simple wooden boats in the previous painting have morphed into elegant ships, with brightly colored sails. It is an impressive city, full of figures in fine garments, and the whole scene seems to be an ode to man’s “progress” and achievements.
Destruction
The most dramatic work in the series is Cole’s appropriately titled fourth painting, “Destruction.” It is a revealing scene, difficult to face in the ugliness it portrays, yet impossible to turn away from. Like a blockbuster movie of the modern day, this painting was the action-packed, tour-de-force artwork of its time.
In a time and place much less inundated with images, one can only imagine the impact these paintings would have had on viewers. Serious violence unfolds tragically before our eyes in a scene that is uniquely dense with piles of figures, and an orchestra of details. Cole offers us a glimpse into a chaotic moment in which figures are battling, buildings are burning, and massive clouds of smoke fill the sky, as the sun sets on Cole’s collapsing empire.
Desolation
Dusk has fallen, and the violence of the previous scene has once again given way to peace. The magnificent structures are now overgrown and in a state of cascading disrepair. A single pillar stands in the foreground, bare of decoration, no longer holding any structure or sculpture. Nature has once again taken its course, and has started the process of reclaiming the works of man. A series that started in the light of morning, now finds its end in the moonlight of dusk. The empire has fallen, and not a soul is to be found amongst its ruins.
Cole’s unflinching series takes a very serious and somber look at what he called the “epitome of Man.” It is a sobering warning that was delivered to Americans even before industrialization moved West. Despite the desolation found in this final painting, life goes on, and the landscape is filled with beauty and hope. The Divine essence Cole sought to represent in nature was not long buried by the works of man. He reminds us that our creations are temporary, and they come at a price.
This pivotal series by Thomas Cole succeeded in garnering great public acclaim and, along with his other magnificent paintings, helped to build awareness, appreciation, and advocacy for wilderness areas that are now protected across America. Much of the soul of America resides in its wilderness landscapes, and Cole’s work serves to remind us of that.
