View from Mount Holyoke, Oxbow. View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm, commonly known as The Oxbow, is a seminal landscape painting by Thomas Cole, founder of the Hudson River School.
The painting depicts a Romantic panorama of the Connecticut River Valley just after a thunderstorm. It has been interpreted as a confrontation between wilderness and civilization.
Between 1833 and 1836, American painter and putative founder of The Hudson River School, Thomas Cole, had been hard at work on his series of paintings The Course of Empire. The work was commissioned by New York patron Luman Reed, who had met Cole in 1832, and the two held a friendship largely based on Reed's generosity in buying Cole's paintings.
Reed requested The Course of Empire to comprise no less than five paintings of a historic composition. Cole himself was excited by such a project, but doubt began to set in by the end of 1835.
The work was slow and laborious, and Cole found great difficulty in painting the figures. Reed had begun to notice Cole was becoming lonely and depressed, and suggested that he suspend work on The Course of Empire and paint something that was more in his element for the April 1836 opening of the National Academy of Design's annual exhibition. Cole, in replying to Reed in a letter, stated that he felt obliged to finish the series as Reed had been so generous in his support, and instead
The painting depicts a Romantic panorama of the Connecticut River Valley just after a thunderstorm. It has been interpreted as a confrontation between wilderness and civilization.
Between 1833 and 1836, American painter and putative founder of The Hudson River School, Thomas Cole, had been hard at work on his series of paintings The Course of Empire. The work was commissioned by New York patron Luman Reed, who had met Cole in 1832, and the two held a friendship largely based on Reed's generosity in buying Cole's paintings.
Reed requested The Course of Empire to comprise no less than five paintings of a historic composition. Cole himself was excited by such a project, but doubt began to set in by the end of 1835.
The work was slow and laborious, and Cole found great difficulty in painting the figures. Reed had begun to notice Cole was becoming lonely and depressed, and suggested that he suspend work on The Course of Empire and paint something that was more in his element for the April 1836 opening of the National Academy of Design's annual exhibition. Cole, in replying to Reed in a letter, stated that he felt obliged to finish the series as Reed had been so generous in his support, and instead
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