1801-1848 Thomas Cole Galleries Thomas Cole (February 1, 1801 - February 11, 1848) was a 19th century American artist. He is regarded as the founder of the Hudson River School, an American art movement that flourished in the mid-19th century. Cole's Hudson River School, as well as his own work, was known for its realistic and detailed portrayal of American landscape and wilderness, which feature themes of romanticism and naturalism. In New York he sold three paintings to George W. Bruen, who financed a summer trip to the Hudson Valley where he visited the Catskill Mountain House and painted the ruins of Fort Putnam. Returning to New York he displayed three landscapes in the window of a bookstore; according to the New York Evening Post, this garnered Cole the attention of John Trumbull, Asher B. Durand, and William Dunlap. Among the paintings was a landscape called "View of Fort Ticonderoga from Gelyna". Trumbull was especially impressed with the work of the young artist and sought him out, bought one of his paintings, and put him into contact with a number of his wealthy friends including Robert Gilmor of Baltimore and Daniel Wadsworth of Hartford, who became important patrons of the artist. Cole was primarily a painter of landscapes, but he also painted allegorical works. The most famous of these are the five-part series, The Course of Empire, now in the collection of the New York Historical Society and the four-part The Voyage of Life. There are two versions of the latter, one at the National Gallery in Washington, D.C., the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846. Cole spent the years 1829 to 1832 and 1841-1842 abroad, mainly in England and Italy; in Florence he lived with the sculptor Horatio Greenough.  Related Paintings of Thomas Cole :. | Tornado | The Voyage of Life:Youth (mk13) | The Hunter's Return | Schroon Mountain,Adirondacks (mk13) | The Return |
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COPLEY, John Singleton
American Colonial Era Painter, 1738-1815 American portrait painter, b. Boston. Copley is considered the greatest of the American old masters. He studied with his stepfather, Peter Pelham, and undoubtedly frequented the studios of Smibert and Feke. At 20 he was already a successful portrait painter with a mature style remarkable for its brilliance, clarity, and forthright characterization. In 1766 his Boy with the Squirrel was exhibited in London and won the admiration of Benjamin West, who urged him to come to England. However, he remained in America for eight years longer and worked in New York City and Philadelphia as well as in Boston. In 1774 Copley visited Italy and then settled in London, where he spent the remainder of his life, enjoying many honors and the patronage of a distinguished clientele. In England his style gained in subtlety and polish but lost most of the vigor and individuality of his early work. He continued to paint portraits but enlarged his repertoire to include the enormous historical paintings that constituted the chief basis of his fame abroad. His large historical painting The Death of Lord Chatham (Tate Gall., London) gained him admittance to the Royal Academy. His rendering of a contemporary disaster, Brook Watson and the Shark (Mus. of Fine Arts, Boston), stands as a unique forerunner of romantic horror painting. Today Copley's reputation rests largely upon his early American portraits, which are treasured not only for their splendid pictorial qualities but also as the most powerful graphic record of their time and place. Portraits such as those of Nicholas Boylston and Mrs. Thomas Boylston (Harvard), Daniel Hubbard (Art Inst., Chicago), Governor Mifflin and Mrs. Mifflin (Historical Society of Pennsylvania, Philadelphia), and Paul Revere (Mus. of Fine Arts, Boston) are priceless documents in which the life of a whole society seems mirrored.
Roll Alfed Philippe
Paris 1846-Paris 1919
Moran, Thomas
American Hudson River School Painter, 1837-1926 American painter and printmaker of English birth. His brothers Edward (1829-1901), John ( 1831-1902) and Peter (1841-1914) were also active as artists. His family emigrated from England and in 1844 settled in Philadelphia where Moran began his career as an illustrator. He was guided by his brother Edward, an associate of the marine painter James Hamilton, whose successful career afforded an example for Moran. Between the ages of 16 and 19 Moran was apprenticed to the Philadelphia wood-engraving firm Scattergood & Telfer; he then began to paint more seriously in watercolour and expanded his work as an illustrator. In the 1860s he produced lithographs of the landscapes around the Great Lakes. While in London in 1862 (the first of many trips to England), he was introduced to the work of J. M. W. Turner, which remained a vital influence on him throughout his career. Moran owned a set of the Liber studiorum and was particularly impressed by Turner's colour and sublime conception of landscape. With his wife, Mary Nimmo Moran (1842-99), an etcher and landscape painter, he participated in the Etching Revival, scraping fresh and romantic landscapes and reproductive etchings