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About This Artwork
Distant View of Niagara Falls, 1830
Oil on panel
47.9 x 60.6 cm (18 7/8 x 23 7/8 in.)
Signed, lower right: "Thomas Cole / 1830"
Friends of American Art Collection, 1946.396
The grandeur of Niagara Falls inspired 19th-century artists to celebrate the sublime power of the American landscape. Thomas Cole, the patriarch of the Hudson River School of landscape painting, was already well known for his depictions of untamed wilderness when he painted Distant View of Niagara Falls in 1830. The potency of Cole’s image lies in the depiction of unspoiled American nature. The painting bears little resemblance to the landscape surrounding the falls at the time, which was marked by factories, scenic overlooks, and hotels that accommodated the multitude of tourists that visited every year. Instead of realistically representing this scene, Cole presented a romanticized view of Niagara Falls that mourns the vanishing American wilderness.
— Permanent collection label
Milwaukee Art Institute, Nineteenth Century American Masters, Feb. 20-Mar. 28, 1948, cat. 12.
Hartford, Conn., Wadsworth Atheneum, Thomas Cole 1801-1848: One Hundred Years Later, Nov. 12, 1948-Jan. 2, 1949, cat. 155 ,as Niagara Falls; traveled to New York City, Whitney Museum of American Art, Jan. 8-30, 1949.
Arts Club of Chicago, The American Landscape, Nov. 14-Dec. 29, 1973, cat. 4.
Washington, D.C., Corcoran Gallery of Art, Niagara: Two Centuries of Changing Attitudes, 1697-1901, Sept. 21-Nov. 24, 1985; traveled to Buffalo, Knox Art Gallery, July 13-Sept. 1, 1985; Corcoran Gallery of Art, New-York Historical Society, Jan. 22-Apr. 27, 1986.
Art Institute of Chicago, "Window on the West: Chicago and the Art of the New Frontier, 1890-1940," June 28-October 13, 2003.
Julia D. Sophronia Snow, “Delineators of the Adams-Jackson American Views,” Antiques (Nov. 1936), pp. 214-19.
Louis Legrand Noble, The Life and Works of Thomas Cole (Belknap Press, 1964).
Howard S. Merritt, “A Wild Scene, Genesis of a Painting: Appendix I: Correspondence between Thomas Cole and Robert Gilmor, Jr.” Baltimore Museum of Art Annual 2 (1967), pp. 41-81.
Henry H. Glassie, “Thomas Cole and Niagara Falls,” New-York Historical Quarterly, 58, 2 (Apr. 1974), pp. 89-111.
“Reevaluation of a Thomas Cole Painting,” Museum Studies 8 (1973), pp. 96-108.
Matthew Baigell, Thomas Cole (Watson-Guptill Publications, 1981).
J. Bard McNulty, ed., The Correspondence of Thomas Cole and Daniel Wadsworth (Connecticut Historical Society, 1983).
Elizabeth McKinsey, Niagara Falls: Icon of the American Sublime (Cambridge University Press, 1985).
Ellwood Parry III, The Art of Thomas Cole: Ambition and Imagination (University of Delaware Press, 1988).
Earl A. Powell, Thomas Cole (Harry N. Abrams Publishers, 1990).
Angela Miller, The Empire of the Eye (Cornell University Press, 1993).
Thomas Cole: Drawn to Nature, exh. cat., (Albany Institute of History and Art, 1993).
William H. Truettner and Alan Wallach, eds., Thomas Cole: Landscape into History (National Museum of American Art, Smithsonian Institution, 1994), ill.
Judith A. Barter et al., American Arts at The Art Institute of Chicago: From Colonial Times to World War I (Art Institute of Chicago, 1998).
Stephanie Pratt et al., "George Catlin: American Indian Portraits," exh. cat. (National Portrait Gallery/ National Portrait Gallery Company, 2013).
Rachel Bohan, "Jacob Kassay: No Goal," (The Power Station/Dallas, 2014), (ill.).
"Paintings at the Art Institute of Chicago, Highlights of the Collection," (Art Institute of Chicago/Yale University Press, 2017) p. 50.
Frank Sabin, London, by 1936; M. Knoedler, London, 1937; Mrs. Edith Mendelssohn-Bartholdy, London, by 1946; The Art Institute of Chicago, 1946.