Collection Highlights
Carolina Parakeet (Conuropsis carolinensis), Study for Havell pl. no. 26
c. 1825
1863.17.26
Watercolor, graphite, pastel, gouache, and black ink with scraping and selective glazing on paper, laid on card
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Museum Collections
Luce Center
The Course of Empire: The Consummation of Empire
Title
The Course of Empire: The Consummation of Empire
Date
1836
Medium
Oil on canvas (relined)
Dimensions
Overall: 51 1/4 x 76 in. ( 130.2 x 193 cm ) Frame: 65 x 89 1/4 x 5 3/4 in. ( 165.1 x 226.7 x 14.6 cm )
Credit Line
Gift of The New-York Gallery of the Fine Arts
Object Number
1858.3
Marks
signed, dated mid right: 'T. Cole / 1836'
Gallery Label
In the late 1820s the young Thomas Cole quickly built a successful career as a painter of Hudson River landscapes, but he harbored ambitions of turning the landscape form to a larger purpose. As early as 1827 he conceived a cycle of paintings that would illustrate the rise and fall of a civilization, and a few years later he began sketching and developing his ideas. The artist attempted unsuccessfully to persuade Robert Gilmor, a Baltimore patron, to commission the series, and in 1833 he secured a commission from New York merchant Luman Reed to paint a cycle of five paintings for the art gallery in his home.
In the resulting series, The Course of Empire, Cole presented a cyclical view of history in which a civilization appears, matures, and collapses. The artist's distinctly pessimistic vision differed from that of many of his peers; in the early years of the United States' history, its future was considered limitless. Cole drew from a number of literary sources, such as Gibbon's The Decline and Fall of the Roman Empire and Byron's epic Childe Harold's Pilgrimage. The motto he attached to the series was taken from Byron's popular poem: "First freedom, then glory; when that fails, wealth, vice, corruption." The artist finally settled on a title in 1835, taken from Bishop George Berkeley's 1729 poem, "Verses on the Prospect of Planting Arts and Learning in America," which begins "Westward the Course of Empire takes its way."
Cole also drew upon paintings he had seen on his recent trip to Europe (1829-32), including the work of J.M.W. Turner and Claude Lorrain. The five paintings follow a dramatic narrative arc, anchored by the imperturbable mountain in the background, and expounded with rich and complex symbolic systems that illustrate this imaginary world's history, including the course of the sun across the sky, the changing relation of man to nature, the role of animals, the arts, and the military, and even the placement and character of his own signature.
Luman Reed, Cole's generous patron, did not live to see the completion of the series. He died in June of 1836, but Reed's family encouraged Cole to complete the work. The series was exhibited to great acclaim in New York later that year. The Course of Empire, along with the rest of Reed's collection, became the core of the New-York Gallery of the Fine Arts. That group of works was donated to the New-York Historical Society in 1858, forming the foundation of its acclaimed collection of American landscape painting.
Cole intended this third painting as the visual climax of the series, choosing a slightly larger canvas and taking considerable time and pains with the composition. He planned to depict "a great city girding the bay
Provenance
Luman Reed, d. 1836; Mrs. Luman Reed, New York, 1836-44; New-York Gallery of the Fine Arts, 1844-58.
Bibliography
Morris, G. P., ed., "The Fine Arts," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. XII, No. 23, December 6, 1834, p. 179.
Morris, G. P., ed., "The Fine Arts," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. XIII, April 2, 1836, p. 318.
Morris, G. P., ed., "The Fine Arts," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. XIV, No. 17, October 22, 1836, p. 135.
Morris, G. P., ed., "The Fine Arts," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. XIV, No. 18, October 29, 1836, p. 142.
Clark, Lewis Gaylord, ed. The Knickerbocker, Vol. VIII, No. 5, November, 1836, pp. 81, 630.
Morris, G. P., ed., "The Fine Arts," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. XIV, No. 19, November 4, 1836, p. 150.
"Amusements," New York Commercial Advertiser, Vol. XXXIX, Friday, November 4, 1836, n.p.
Morris, G. P., ed., "The Fine Arts," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. XIV, No. 20, November 12, 1836, p. 158.
Morris, G. P., ed., "The Fine Arts," The New-York Mirror, A Weekly Journal, Devoted to Literature and the Fine Arts, Vol. XIV, No. 27, December 31, 1836, p. 215.
Poe, Edgar Allen, ed., "The New York Gallery of the Fine Arts," The Broadway Journal, I, February 15,1845, pp. 102-103.
Bryant, William Cullen, Funeral Oration, occasioned by the Death of Thomas Cole, Delivered Before the National Academy of Design, New-York, May 4, 1848, New York, D. Appleton & Company, pp. 23-4, 26.
Exhibition of the Paintings of the late Thomas Cole, at the Gallery of the American Art-Union, 1848, pp. 19-20.
Noble, Louis Legrand, The Course of Empire, Voyage of life, and Other Pictures of Thomas Cole, N. A., With Selections from his Letters and Miscellaneous Writings: Illustrative of his Life, Character, and Genius, New York: Cornish, Lamport & Company, 1853, n.p.
Stillman, W. J. & Durand, J. Eds., "The Artists of America," The Crayon, Vol. VII, No. 2, February 1860, pp. 45-6.
Hone, Philip, The Diary of Philip Hone 1828-1851, New York: Dodd, Mead and Company, 1889, p. 236.
Durand, John, The Life and Times of Asher B. Durand, (New York: Charles Scribner's Sons, 1894; Reprint, Hensonville, NY: Black Dome Press, 2007), p. 124.
Caffin, Charles H., The Story of American Painting: The Evolution of Painting in America from Colonial Times to the Present, New York: Frederick A. Stokes Company, 1907, pp. 66, 69-70.
Mather, Frank Jewett, Morey, Charles Rufus, and Henderson, William James, The Pageant of America: The American Spirit in Art, New Haven: Yale University Press, 1927, p. 43.
Isham, Samuel, The History of American Painting, New York: The MacMillan Company, 1936, pp. 225-6.
Sweet, Frederick A. "Asher B. Durand, Pioneer, American Landscape Painter," The Art Quarterly, Vol. 8, No. 2, Spring, 1945, pp. 141, 153.
Howe, Winifred E., A History of the Metropolitan Museum of Art with a Chapter on the Early Institutions of Art in New York. New York: The Metropolitan Museum of Art, 1946, pp. 62-7
Thomas Cole: One Hundred Years Later, Wadsworth Atheneum, Hartford, CT 1948, pp. 10-1.
Tunnard, Christopher, "Reflections on the Course of Empire and other Architectural Fantasies of Thomas Cole, N.A.," The Architectural Review, Vol. 104, December 1948, pp. 291-294.
Davidson, Marshall, "Whither the Course of Empire?" American Heritage, October 1957, pp. 52-5, 58-61, 104.
Flexner, James Thomas, That Wilder Image: The Painting of America's Native School from Thomas Cole to Winslow Homer, Boston: Little, Brown and Company, 1962, pp. 49-58, 108, 354.
McCoubrey, John, American Tradition in Painting, New York: G. Braziller, 1963, p. 65.
Exhibition at Kennedy Galleries, New York, 1964, pp. 14, 26-7.
Noble, Louis Legrand, The Life and Works of Thomas Cole, Hensonville, New York: Black Dome Press, 1964, pp. 103, 112, 129-131, 149-50, 155, 157-9, 164-74, 264, 268, 287.
Walla
Due to ongoing research, information about this object is subject to change.
