Thomas Cole 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. 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 landscapes. They are usually escapist, framing the New World as a natural eden contrasting with the smog-filled cityscapes of Industrial Revolution-era Britain, in which he grew up.^[4][5] His works, often seen as conservative, criticize the contemporary trends of industrialism, urbanism, and westward expansion.^[3]

Self-taught, Cole began painting portraits in 1822. In the ensuing years, he shifted his focus to landscapes.^[6] One of Cole's first landscapes, Lake with Dead Trees (1825), was among those that first popularized his works in an 1825 exhibition.^[7] Most of his early works depict the wilderness, "the truly American forest", typically the Hudson River Valley and Catskills where he resided.^[7][8] From 1831 to 1832, Cole traversed Italy; some of the classical ruins he visited made appearances in his paintings, such as Aqueduct near Rome (1832), Roman Campagna (1843), and Arch of Nero (1846). While in Rome, Cole formulated the concept for his most ambitious work yet:^[9] The Course of Empire, a series of five paintings following the rise and fall of civilization. Completed in 1836, the series reflects nostalgia for pastoralism and Cole's personal opposition to US President Andrew Jackson.^[3] His 1836 painting The Oxbow encompasses many of the themes from his earlier landscapes, juxtaposing untamed nature with "civilized" land.^[10] Later in life, Cole transitioned away from natural landscapes to focus more on works conveying religious or spiritual themes.^[2] In 1842, he painted The Voyage of Life, another allegorical series, this time depicting the course of an individual's life. His 1847 painting Prometheus Bound, based on the Greek myth, is believed by some analysts to express abolitionist sentiments.^[11] One of Cole's final landscapes, Cross at Sunset, was left unfinished after his premature death in 1848.^[12]

Today, Cole's work are held across a wide variety of major and national museums, with the Metropolitan Museum of Art, Museum of Fine Arts, Boston, and the National Gallery of Art having some of the largest collections. The following list consists only of paintings documented in public collections.

Paintings

Dated works

Table featuring paintings by Thomas Cole

Image	Title	Year	Medium	Dimensions	Collection	Ref.
	Lake with Dead Trees[note 1]	1825	Oil on canvas	68.6 by 85.7 centimetres (27.0 in × 33.7 in)	Allen Memorial Art Museum, Ohio	[13][14]
	View of Fort Putnam	1825	Oil on canvas	69.2 by 86.4 centimetres (27.2 in × 34.0 in)	Philadelphia Museum of Art, Pennsylvania	[15][16]
	Landscape	1825	Oil on canvas	60.3 by 80 centimetres (23.7 in × 31.5 in)	Minneapolis Institute of Art, Minnesota	[17]
	Catskills Mountain Landscape	c. 1826	Oil on wood	40.3 by 55.6 centimetres (15.9 in × 21.9 in)	Sheldon Museum of Art, Nebraska	[18]
	The Tempest	c. 1826	Oil on panel	47.6 by 63.5 centimetres (18.7 in × 25.0 in)	High Museum of Art, Georgia	[19]
	Kaaterskill Falls	1826	Oil on canvas	64.2 by 89.7 centimetres (25.3 in × 35.3 in)	Wadsworth Atheneum, Connecticut	[20]
	Sunrise in the Catskills	1826	Oil on canvas	64.8 by 90.1 centimetres (25.5 in × 35.5 in)	National Gallery of Art, Washington, D.C.	[21]
	Landscape, the Seat of Mr. Featherstonhaugh in the Distance	1826	Oil on canvas	83.8 by 121.9 centimetres (33.0 in × 48.0 in)	Philadelphia Museum of Art, Pennsylvania	[22]
	View on the Schoharie	1826	Oil on canvas	92.7 by 117.5 centimetres (36.5 in × 46.3 in)	Fenimore Art Museum, New York	[23][24]
	Daniel Boone Sitting At the Door of His Cabin on the Great Osage Lake Kentucky	1826	Oil on canvas	97.2 by 108.3 centimetres (38.3 in × 42.6 in)	Mead Art Museum, Massachusetts	[25][26]
	From the Top of Kaaterskill Falls	1826	Oil on canvas	79.1 by 104.5 centimetres (31.1 in × 41.1 in)	Detroit Institute of Arts, Michigan	[27]
	The Woodchopper, Lake Featherstonhaugh	1826	Oil on panel	68.6 by 86.4 centimetres (27.0 in × 34.0 in)	USC Fisher Museum of Art, California	[28]
	The Last of the Mohicans: The Death of Cora	c. 1827	Oil on canvas	Unknown	University of Pennsylvania, Pennsylvania	[29]
	Peace at Sunset[note 2]	c. 1827	Oil on canvas	68.9 by 81.9 centimetres (27.1 in × 32.2 in)	Fine Arts Museums of San Francisco, California	[30]
	Scene from "The Last of the Mohicans," Cora Kneeling at the Feet of Tamenund	1827	Oil on canvas	64.5 by 89.1 centimetres (25.4 in × 35.1 in)	Metropolitan Museum of Art, New York	[31]
	The Clove, Catskills	1827	Oil on canvas	64.1 by 89.2 centimetres (25.2 in × 35.1 in)	New Britain Museum of American Art, Connecticut	[32][33]
	View of the Round-Top in the Catskill Mountains	1827	Oil on panel	47.3 by 64.5 centimetres (18.6 in × 25.4 in)	Museum of Fine Arts, Boston, Massachusetts	[34]
	View in the White Mountains	1827	Oil on canvas	64.5 by 89.4 centimetres (25.4 in × 35.2 in)	Wadsworth Atheneum, Connecticut	[35]
	Autumn in the Catskills	1827	Oil on wood	47.3 by 64.6 centimetres (18.6 in × 25.4 in)	Arnot Art Museum, New York	[36]
	View near the Village of Catskill	1827	Oil on panel	62.2 by 88.9 centimetres (24.5 in × 35.0 in)	Fine Arts Museums of San Francisco, California	[37]
	Landscape Composition: Saint John in the Wilderness	1827	Oil on canvas	91.4 by 73.5 centimetres (36.0 in × 28.9 in)	Wadsworth Atheneum, Connecticut	[38]
	Lake Winnepesaukee	c. 1827 – c. 1828	Oil on canvas	64.8 by 87 centimetres (25.5 in × 34.3 in)	Albany Institute of History & Art, New York	[39]
	Expulsion: Moon and Firelight	c. 1828	Oil on canvas	91.4 by 122 centimetres (36.0 in × 48.0 in)	Thyssen-Bornemisza Museum, Madrid	[40]
	Expulsion from the Garden of Eden	1828	Oil on canvas	101 by 138.4 centimetres (39.8 in × 54.5 in)	Museum of Fine Arts, Boston, Massachusetts	[41]
	Landscape (Landscape with Tree Trunks)	1828	Oil on canvas	66.4 by 81.9 centimetres (26.1 in × 32.2 in)	Rhode Island School of Design Museum of Art, Rhode Island	[42]
	The Garden of Eden	1828	Oil on canvas	38.5 by 52.8 centimetres (15.2 in × 20.8 in)	Amon Carter Museum of American Art, Texas	[43]
	View on Lake Winnipiseogee	1828	Oil on panel	50.2 by 66.4 centimetres (19.8 in × 26.1 in)	Wadsworth Atheneum, Connecticut	[44][45]
	The Subsiding of the Waters of the Deluge	1829	Oil on canvas	90.8 by 121.3 centimetres (35.7 in × 47.8 in)	Smithsonian American Art Museum, Washington, D.C.	[46]
	Distant View of Niagara Falls	1830	Oil on panel	47.9 by 60.6 centimetres (18.9 in × 23.9 in)	Art Institute of Chicago, Illinois	[47]
	Tornado in an American Forest[note 3]	1831	Oil on canvas	117.8 by 164.2 centimetres (46.4 in × 64.6 in)	National Gallery of Art, Washington, D.C.	[49][48]
	A Wild Scene	c. 1831 – c. 1832	Oil on canvas	129.7 by 194.5 centimetres (51.1 in × 76.6 in)	Baltimore Museum of Art, Maryland	[50]
	Aqueduct near Rome	1832	Oil on canvas	44.5 by 67.3 centimetres (17.5 in × 26.5 in)	Mildred Lane Kemper Art Museum, Missouri	[51]
	The Dead Abel[note 4]	1832	Oil on panel	17 by 28.5 centimetres (6.7 in × 11.2 in)	Albany Institute of History & Art, New York	[52]
	Ruined Tower (Mediterranean Coast Scene with Tower)	c. 1832 – c. 1836	Oil on composition board	68 by 86.4 centimetres (26.8 in × 34.0 in)	Albany Institute of History & Art, New York	[53]
	Ruined Castle and River	c. 1832	Oil on canvas	20.2 by 31.7 centimetres (8.0 in × 12.5 in)	Brooklyn Museum, New York	[54]
	The Cascatelli, Tivoli, Looking Towards Rome	c. 1832	Oil on canvas	85.7 by 113 centimetres (33.7 in × 44.5 in)	Columbus Museum of Art, Ohio	[55]
	A View near Tivoli (Morning)	1832	Oil on canvas	37.5 by 58.7 centimetres (14.8 in × 23.1 in)	Metropolitan Museum of Art, New York	[56]
	Salvator Rosa Sketching Banditti	c. 1832 – c. 1840	Oil on panel	17.8 by 24.1 centimetres (7.0 in × 9.5 in)	Museum of Fine Arts, Boston, Massachusetts	[57]
	Catskill Scenery	c. 1833	Oil on canvas	62.2 by 82.2 centimetres (24.5 in × 32.4 in)	Saint Louis Art Museum, Missouri	[58]
	Sunset, View on the Catskill	1833	Oil on wood	41.9 by 62.2 centimetres (16.5 in × 24.5 in)	New-York Historical Society, New York	[59][60]
	The Titan's Goblet	1833	Oil on canvas	49.2 by 41 centimetres (19.4 in × 16.1 in)	Metropolitan Museum of Art, New York	[61]
	Scene from Byron’s “Manfred”	1833	Oil on canvas	127 by 96.5 centimetres (50.0 in × 38.0 in)	Yale University Art Gallery, Connecticut	[62]
	Landscape (Moonlight)	c. 1833 – c. 1834	Oil on canvas	62.5 by 80.6 centimetres (24.6 in × 31.7 in)	New-York Historical Society, New York	[63][64]
	The Course of Empire: Destruction	c. 1833 – c. 1836	Oil on canvas	100.3 by 161.3 centimetres (39.5 in × 63.5 in)	New-York Historical Society, New York	[65]
	The Angel Appearing to the Shepherds	c. 1834 – c. 1834	Oil on canvas	101.5 by 185.5 centimetres (40.0 in × 73.0 in)	Chrysler Museum of Art, Virginia	[66]
	Autumn Twilight, View of Conway Peak (Mount Chocorua), New Hampshire	1834	Oil on wood	34.9 by 49.5 centimetres (13.7 in × 19.5 in)	New-York Historical Society, New York	[67][68]
	Summer Twilight, A Recollection of a Scene in New-England	1834	Oil on wood	35.6 by 49.5 centimetres (14.0 in × 19.5 in)	New-York Historical Society, New York	[69][70]
	Clouds	c. 1838	Oil on paper laid down on canvas	22.2 by 27.6 centimetres (8.7 in × 10.9 in)	Metropolitan Museum of Art, New York	[71] Zdroj:https://en.wikipedia.org?pojem=List_of_paintings_by_Thomas_Cole Text je dostupný za podmienok Creative Commons Attribution/Share-Alike License 3.0 Unported; prípadne za ďalších podmienok. Podrobnejšie informácie nájdete na stránke Podmienky použitia.  Navigácia: Veda > Analytika Antropológia Aplikované vedy Bibliometria Dejiny vedy Encyklopédie Filozofia vedy Forenzné vedy Humanitné vedy Knižničná veda Kryogenika Kryptológia Kulturológia Literárna veda Medzidisciplinárne oblasti Metódy kvantitatívnej analýzy Metavedy Metodika Metodológia vedy Náboženstvo a veda Náučná literatúra Podvody vo vede Popularizácia vedy Potravinárstvo Prírodné vedy Pseudoveda Scientometria Spoločenské vedy Teórie Teatrológia Technické vedy Technika Terminológia Umenie Výskum Veda Veda a technika podľa štátu Veda a technika podľa kontinentu Veda a technika podľa roka Veda v kozme Vedci Vedecká literatúra Vedecké databázy Vedecké experimenty Vedecké konferencie Vedecké metódy Vedecké ocenenia Vedecké organizácie Vedecké parky Vedeckí spisovatelia Vzdelávanie Záhady Príbuzné výrazy: Text je dostupný za podmienok Creative Commons Attribution/Share-Alike License 3.0 Unported; prípadne za ďalších podmienok. Podrobnejšie informácie nájdete na stránke Podmienky použitia. www.astronomia.sk | www.biologia.sk | www.botanika.sk | www.dejiny.sk | www.economy.sk | www.elektrotechnika.sk | www.estetika.sk | www.farmakologia.sk | www.filozofia.sk | Fyzika | www.futurologia.sk | www.genetika.sk | www.chemia.sk | www.lingvistika.sk | www.politologia.sk | www.psychologia.sk | www.sexuologia.sk | www.sociologia.sk | www.veda.sk I www.zoologia.sk