Why does Cole think it is important to observe and paint American scenery? How does he think nature and humans should interact? How does one painting depict (or fail to depict) the ideals he discusses in his essay?
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In his essay, Cole expresses his fondness and preference for American scenery, which, in his opinion, “[is] unsurpassed” by other countries where “the primitive features of scenery have long since been destroyed or modified…to accommodate the tastes and necessities of a dense population” (108, 102). This can be clearly see in his painting The Course of Empire: The Consummation of Empire. In the painting, the once primitive scenery is now “crowned with towers, the rudest valleys [have been] tamed by the plough, [and the] impetuous rivers turned from their courses” (102). Cole acknowledges that America will soon fall victim to the same Fate, “but nature is still predominant” in the country at that time (102). Therefore, he believes that it is imperative for Americans to take advantage of this rural nature, which he see as “an unfailing fountain of intellectual enjoyment, where all may drink, and be awakened to a deeper feeling of the works of genius, and a keener perception of the beauty of our existence” (99). He urges people not to be apathetic in their interactions with nature. He then goes on to remark on the beauty of each element in American scenery (i.e. the water, the Waterfall, the mountains, the sky, the sunset, etc.) For example, his admiration for the Waterfall can be seen in his painting The Falls of Kaaterskill. In the painting, we see “a chain of waterfalls of remarkable beauty, where foaming waters, shadowed by steep cliffs, break over rocks of architectural formation” (105). His belief that the “waterfall may be called the voice of the landscape” is successfully conveyed through the painting (105).
Thomas Cole’s “Essay on American Scenery” suggests that he paints natural scenes to experience a particular emotional response—one he describes variably as “a calm religious tone,” “tranquility and peace,” and a feeling “as though a great void had been filled in our minds” (100, 103, 105). He writes about “the importance of cultivating a taste for scenery,” which practice he seems to define as the appreciation of nature’s physical beauty and the ability of that beauty to give us peace and perspective. The relationship with nature he describes seems disturbingly one-sided: nature, it would appear, exists to provide us with views and artistic material and psychological ease. Cole briefly mentions his “sorrow” that mankind’s “ravages of the axe” have been wrecking “the most noble scenes,” but he acknowledges his own ambivalence, saying, “This is a regret rather than a complaint; such is the road society has to travel” (109). When describing the first European settlers in America, he calls then “an enlightened and increasing people” who “with activity and power wrought changes that seem magical” (102). His appreciation of the wildness or savagery of nature is almost always coupled with a gratefulness for the beautiful or picturesque, for something to “temper” that vision of overwhelming power. He describes his wonder at “[the marriage of] grandeur and loveliness,” betraying his personal belief in the equivalence of beauty and goodness he mentions.
Cole’s painting, “View from Mount Holyoke,” can be read in a similar way: clouds brew over the dark, wild, uncultivated portion of the scene, while the exposed valley seems to have braved the storm and now appears bright, ordered, benign, and attractive. The land by “the Oxbow” appears cultivated, which the sunlight and left-to-right conventions of reading suggest we see as progress. It appears to be “lovely,” “peaceful,” and “charming”—all traits Cole values in his essay (106, 107). The broken spear in the left foreground may indicate some uncertainty—perhaps the same questions Cole posed in his essay about our destruction of the landscape and its wilderness—but it would represent a very subtly raised concern.
Cole seems to resort to nature as a balm—as many who champion the natural world do—but I have difficulty viewing his approach as other than somewhat superficial and irresponsible. He describes natural beauty as functioning like a mask, able to “cast a veil of tender beauty over the asperities of life” (101). Though the beauty of nature may have substantial, perceptible influence over his own psyche, he seems to turn to it for a band-aid-type distraction rather than a constructive solution. He does not seem to feel any obligation to protect or maintain the beauty of the landscape he exploits, which further characterizes his appreciation as a shallow one. In fact, his writings and works suggest that he may prefer the human-inhabited (but not -dominated), “tempered” world to its unknowable and intimidating, truly natural state.
It is obvious from the start that Cole is very passionate about the scenery he sees throughout the United States. He is enthralled with the landscape and describes it in terms of sublimity and magnificence. He seems to think that everyone should express the same love of nature and rural earth as he does. He talks about important events that happened with rural earth as the background: Elijahs witnessing of the mighty wind, earthquake, and fire on Mount Horeb, St. Johns preaching in the desert. Cole asserts that even in the city this beauty cannot be hidden. American scenery is what really appeals to Cole, and he compares it with European scenery to further his notion of how magnificent and beautiful the landscape is. He shuns those who favor the scenery of a different country over their own, and hopes that they “will know better how to appreciate the treasures of their own country” (101). He insists that although European scenery and American scenery differ, one must not think the latter inferior. Cole talks extensively about the sublime and rugged landscape that has barely been touched by humans. It is most distinctive, he says, because there is nothing like it in Europe, where it has all been modified. In every component of scenery he discusses, whether it be water, mountains, or waterfalls, he compares it to the European counterpart and makes a compelling argument in favor of the American landscape. He also makes a point of not only painting a beautiful image of only one specific place, but touching on the brilliance of all regions of the country. Cole encourages people to take in this scenery, and to let it generate emotion and reflection. Cole sets up a framework for a new appreciation of the sublime, untouched American landscape. In “The Falls of Kaaterskill,” Cole exhibits this feeling of fear alongside awe. The scene looks wild and untouched, but at the same time something that is worth appreciating, something that can only be found here.
Cole’s essay demonstrates his fondness in American scenery. Cole was born in England but emigrated to the United States in his late teens. His passion for American scenery is evident in his writing as he compares it to European scenery. He believes that every American should find great interest in American scenery, calling it “his own land” and stating that those who do not find interest in it should “shut themselves up in their narrow shell of prejudice.” He also believes that the human mind connects beauty with goodness and therefore sees beautiful things as inherently good. Cole acknowledges that American scenery is different than scenery in the old world but does not believe that it should be viewed as inferior.
Cole distinguishes its wildness as the most impressive characteristic of American scenery, a trait that the scenery of Europe no longer possesses. His vision of American scenery as raw and untamed is contrasted with his vision of a refined, tamed European scenery. Cole focuses on predominantly on the northeast United States, highlighting the mountains, lakes and waterfalls as the most sublime elements in nature. Their purity and primitiveness separate them from similar features in Europe. Cole also references Autumn in the northern states as the most gorgeous season in all the world. His critique of American and European scenery concludes with his belief that Europe’s scenery is associated with its past while American scenery is associated with its present and future.
Cole is nervous for the future of American scenery, fearing that it may be “cultivated” and “ravaged” in the years to come as the population in the United States grows. Although this displeases Cole, he understands that “such is the road society has to travel.” Cole’s reasoning for painting and observing American scenery and taking in its beauty is because it will inevitably evolve over time into a more cultivated land. He encourages people to take the time to enjoy the purity of rural nature, insisting that it will promote clearer thinking and a more peaceful mind. He wants people to value American scenery for its unique beauty that differs from old world scenery and to refrain from comparing it to that old world.
Cole’s painting, Home in the Woods, depicts the beginning of settlement and cultivation of this new land. While the forest and mountains in the background still hold their raw and untamed character, the foreground shows the start of civilization building on the river bank. It is clear that “the ravages of the axe are daily increasing” as we see a house built of trees and a other wooden structures surrounding the house, including a canoe in the river. The immediate foreground shows what appears to be the remains of the part of the forest that the people used to build their house. The excess stumps and logs are a much less picturesque view than the vast forest in the background. This painting reflects the beginning of a growing population in the northeastern United States that would exploit nature for its resources, and in doing so, take away its pure beauty.
After reading Thomas Cole’s “Essay on American Scenery”, the first thing that evidently jumps out to the reader is his unconditional love and passion for the scenery that is present throughout the United States. In essence, the role that nature plays in his life is unparalleled and he believes that every American should be interested in and treat the scenery of America with the utmost of respect. Regardless of where you live in this country, the scenery that surrounds you is indeed beautiful and magnificent. Basically what he is saying that that no matter where you are, nature is truly amazing.
In his eyes, there is nothing more special that gazing at what the Almighty has created, the landscape of our country. After I read this essay, I could’t help but think about how bold Cole is in his very firm belief of the importance of scenery. When speaking of people who do not view American Scenery as a glorious and incredible sign, he says “Let such persons shut themselves up in their narrow shell of prejudice” (101). While I myself am not a nature connoisseur, after reading this line there is not doubt that I thought Cole was indeed an “American Scenery Snob”. However, Cole that speaks about how there are many elements of nature that make the scenery of America so amazing. When talking about water, he says that on one hand an unrippled lake can represent tranquility and peace, while on the other a rapid stream can symbolize turbulence and impetuosity (103). This is just one of the elements of nature that makes is so stunning.
When looking at his paintings “The Course of the Empire: The pastoral or Arcadian State”, much of what he says in his essay comes to life. He says that “We are still in Eden” (109), which I believe is his notion that the most beautiful things in life are already given to us by God. In this painting, there are so many elements of beauty that it is hard to refute that quote. The mountains, the trees, the lake, and the sky all play a fundamental role in this beauty that is given to us for free. In a world where everybody wants things for themselves, Cole makes the claim that American Scenery is the only thing we really need.