Recent articles discussing the American art auctions in May at Sotheby’s and Christie’s in New York expressed concern about the state of the market for Hudson River school paintings.
Only a short walk from Thomas Cole’s house and studio in upstate New York winds a stretch of Catskill Creek that the painter would return to depict again and again.
Even in such early work as The Clove, Catskills (1827) and View of Monte Video, the Seat of Daniel Wadsworth, Esq. (1828), the facture and compositional strategies employed by Thomas Cole—a working-class boy from northern England, self-taught as an artist—demonstrated surprising conversance with European landscape painting of the time.
A new exhibition explores the global career of one of America’s leading landscape painters.
Sanford R. Gifford in the Catskills is the name of an intimate, beautifully curated exhibition on view at the Thomas Cole National Historic Site in Catskill, New York. But the show could also have been subtitled Local Boy Makes Good.
On October 7, the Amon Carter Museum of American Art in Fort Worth, Texas, welcomes a traveling exhibition that the organizers deem to be the first of its kind: a major survey of hunting and fishing in American art from the early nineteenth century to the start of World War II.
Among members of the Hudson River School of painting, Sanford Robinson Gifford has long been considered one of the most brilliant painters of light and air.
The English-born artist Thomas Cole (1801–1848) tolerated no ill comparisons to his adopted home in upstate New York. As he wrote to a friend in 1842: “Must I tell you that neither the Alps nor the Apennines, no, nor even Aetna itself, have dimmed, in my eyes, the beauty of our own Catskills?”