“[Landscape with Clouds] lodged in my mind something like 45 years ago, when I first saw it hanging on loan at the Philadelphia Museum of Art (along with the big version of Prometheus [Bound])….it seemed then, and it still does, such an incredible image, both in its grandeur and its emptiness, and for what it is and what it isn’t, forever unfinished, enigmatic, beautifully mysterious.” –Franklin Kelly, Curator
Thomas Cole, Landscape with Clouds, 1846-47, oil on canvas, 48 x 72 in., Private Collection.
Detail of exhibition catalogue (including: Emily Cole Sitting in Thomas Cole’s Studio, at Cedar Grove, Catskill, New York (detail), c. 1880, albumen photographic print on card, Albany Institute of History & Art Library, Thomas Cole Papers & Thomas Cole, Landscape with Clouds, 1846-47, oil on canvas, 48 x 78 in., Private Collection)
Thomas Cole, Niagara Falls, c.1830, oil on canvas, 18 5/6 x 24 1/2 in., National Park Service, Marsh-Billings-Rockefeller National Historic Park, MABI 1770.
Thomas Cole, Tornado in an American Forest, 1831, oil on canvas, 46 3/8 x 64 5/6 in. National Gallery of Art, Washington, Corcoran Collection, Museum Purchase, Gallery Fund, 2014.136.117.
Thomas Cole, Study for “Catskill Creek,” c.1844-45, oil on wood, 12 x 18 in., National Gallery of Art, Washington, Avalon Fund, 1998.67.1.
Thomas Cole, The Pilgrim of the Cross at the End of His Journey (Study for series, The Cross and the World), c. 1846-48, oil on canvas, 12 x 18 in., Smithsonian American Art Museum, Museum purchase, 1965.10.
Thomas Cole, Clouds, c.1838, oil on paper laid down on canvas, 8 3/4 × 10 7/8 in., Metropolitan Museum of Art, Morris K. Jesup Fund, 2013.201
Thomas Cole,View of Schroon Mountain, 1838, oil on panel, 9 ¾ x 14 ½ in., Private Collection
Thomas Cole’s New Studio © Peter Aaron/OTTO