Thomas Cole's Refrain: The Paintings of Catskill Creek by H. Daniel Peck

In 1825 the artist Thomas Cole visited the Hudson River and the Catskill Mountains. Within a few years, he had set up a studio in Catskill and married a local woman. By 1836 he wrote in his journal that it's "quietness & solitude is gone."

It was his Catskill paintings that led to his discovery by John Trumbull, who brought his work to the attention of the New York City art world, propelling him to fame. He was inspired by the Catskills, even painting his favorite scene from memory while studying abroad.

Thomas Cole's Refrain by H. Daniel Peck considers  Cole's Catskill Creek paintings, probing deep into the subtleties Cole hid in plain sight--images of the human relationship to nature, the tension between civilization and nature, and the human experience as we journey through life.

Thomas Cole always intrigued me because of his use of art to convey his vision of life in his painting series The Course of Civilization and The Voyage of Life. I was interested in this book as an exploration of Cole's vision through the landscape he painted over and over, the application of his "deeply literary imagination" to create a narrative in his art.

Viewers may puzzle over just how different each version of the Catskill Creek is from another. He painted one scene ten times! The creek and the trees and the misty mountains on the horizon are seen in various lights, time of day, and seasons. There is often a man rowing and human and animal figures, sometimes barely seen. Peck zeros in on the details, looking for themes and interpreting Cole's intentions.

The paintings are reproduced in whole and in detail. There are fascinating maps showing Cole's vantage point from which he sketched.

Readers learn about Cole's theories, his Essay on American Art as it applies to his art, his career and personal life, and his travels across America and Europe.

From the vantage point of a time when we are under threat of climate change and in the throes of the struggle between industry and business and environmental protection, even our national parks unprotected from commerce, it might surprise that two centuries ago Cole was already mourning the loss of America's pristine natural abundance.

Born in Lancashire, England, a hotbed of textile mills, Cole understood America's future under the relentless industrial growth powered by capitalistic greed. Cole's art reacted to the changing American landscape under the Industrial Revolution. He deeply felt men's "insensibility" to the sublime "beauty of nature" which "commerce" was destroying. Forests were cut down, Native American burial grounds desiccated, and train tracks altered pastoral scenes and rattled the foundations of early colonial homes.

In some of the paintings, dark storms are rushing toward the sun-filled scenes, only stumps remain of once splendid primal trees, or vultures hover.

Wild nature, the agrarian life, and industry's impending alteration are part of the cycle of civilization. But not all "civilization" is welcome. Case in point: Niagara Falls, my girlhood Sunday afternoon jaunt--oh, to have seen it before the forest was torn down and the cement and shops grew to the very water's edge!

Cole was one of the first American artists to portray the American landscape, inspiring and influencing the artists of the Hudson River School and Luminists such as his student Frederick Church. I enjoyed this deeper look into Cole's art.

I received a free ebook from the publisher through NetGalley in exchange for a fair and unbiased review.

Thomas Cole's Refrain: The Paintings of Catskill Creek
by H. Daniel Peck
Cornell University Press
Pub Date 15 Mar 2019
ISBN 9781501733079
PRICE $34.95 (USD)

Learn more about Thomas Cole at
The Thomas Cole National Historic Site

from the publisher:
Thomas Cole, an internationally renowned artist, centered his art and life in Catskill, New York.  From his vantage point near the village, he cast his eyes on the wonders of the Catskill Mountains and the swiftly flowing Catskill Creek.  These landscapes were sources of enduring inspiration for him.

Over twenty years, Cole painted one view of the Catskill Mountains at least ten times. Each work represents the mountains from the perspective of a wide river bend near Catskill, New York. No other scene commanded this much of the artist's attention. Cole's Catskill Creek paintings, which include works central to American nineteenth-century landscape art, are an integral series. In Thomas Cole's Refrain, H. Daniel Peck explores the patterns of change and permanence in the artist's depiction of a scene he knew first-hand. Peck shows how the paintings express the artist's deep attachment to place and region while illuminating his expansive imagination.

Thomas Cole's Refrain shows how Cole's Catskill Creek paintings, while reflecting concepts such as the stages of life, opened a more capacious vision of experience than his narrative-driven series, such as The Voyage of Life. Relying on rich visual evidence provided by paintings, topographic maps, and contemporary photographs, Peck argues that human experience is conveyed through Cole's embedding into a stable, recurring landscape key motifs that tell stories of their own. The motifs include enigmatic human figures, mysterious architectural forms, and particular trees and plants. Peck finds significant continuities—personal and conceptual—running throughout the Catskill Creek paintings, continuities that cast new light on familiar works and bring significance to ones never before seen by many viewers.

The Surprising Life Behind Whistler's Mother

Whistler's Mother by by Daniel E. Sutherland and Georgia Toutziari relates the life of Anna McNeil Whistler (1804-1881), immortalized by her son James McNeil Whistler in his 1871 portrait Arrangement in Gray and Black No. 1--commonly referred to as Whistler's Mother.

Detailed information gleaned from Anna's diaries and letters, as well as previous biographies, show that she lived a more interesting life than her Victorian apparel and demure pose in the painting would indicate. She was a well-traveled woman with a wide, international social network.

She held Confederate-leaning sensibilities along with Christian pietism while exemplifying Christian values; she socialized with Russian peasants and her son's Pre-Raphaelite friends and distributed church pamphlets. 

A pious Episcopalian, Anna was born in the American South among slave owners but was raised in the North. Sixteen-year-old Anna was quite taken with her brother's handsome friend from West Point, George Washington Whistler, but he married another. After the early death of his wife, George and Anna met again. They married and Anna helped raise his children from his first marriage as well as their own children. George became America's leading engineer--who gave the locomotive it's whistle! His work meant frequent moves, including to Britain and St. Petersburg.

Anna endeavored to embody Christian virtues of reverence, charity, and patience in her daily life. She warned her children against the vanities of the world. And yet, she accepted slavery as a "benevolent" institution. Her own family was kind toward their slaves, and one member had several slave 'wives' and families that were well provided for.

Even after the death of her husband, Anna was always on the move, visiting family across America and the Continent. Her sons Willie and 'Jemmie' (John McNeil Whistler) were a 'handful.' Willie finally settled on a career in medicine and Jemmie in art.

Anna made friends everywhere whether participating in charitable activities or dining with Bohemian artists. Through Jemmie she met Mazzini, Garibaldi, the Rossettis, and Swinburne. Thankfully, she was ignorant of some things, such as Jemmie's long-term association with a mistress.

The place of the painting in art history and its reception over time is presented. Whistler's work was too modern for his time. He endeavored to move away from the Victorian preference for art that told a story, a moral, or to convey emotion.

"Art should be independent of all clap-trap--should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like,"he later told a journalist..."Take the picture of my mother...Arrangement in Grey and Black. Now that is what it is." 

The painting we know as Whistler's Mother became famous in America in the early 20th c. In the 1930s it toured the country, drawing two million viewers. President Roosevelt endorsed the use of the painting in a stamp to commemorate Mother's Day.

The painting became one of the most iconic and popularly known in America. Cole Porter and other songwriters referenced the painting in popular music. It was exploited in cartoons, satire, and became a symbol in movies and literature.

It is amazing how much Anna packed into her lifetime.

I received a free e-book from the publisher through NetGalley in exchange for a fair and unbiased review.

Whistler's Mother: Portrait of an Extraordinary Life
Daniel E. Sutherland and Georgia Toutziari
Yale University Press
Publication: March 27, 2018
254 pages, 60 color + b/w illus.
Hardcover: $25
ISBN: 9780300229684

Artists of the Revolution and The Creation of an American Identity

In 1783 John Adams was in London and commissioned American expat John Singleton Copely to paint his portrait.

Adams was fresh from Paris where, along with John Jay and Benjamin Franklin, he had signed the Treaty of Paris. His accomplishments included obtaining recognition of America and negotiating a treaty with the Dutch, plus obtaining a Dutch loan to fund the American war for independence, and establishing the very first American embassy in Amsterdam. He was instrumental in the Provisional Treaty with Britain.

A man must be his own trumpeter Adams had written in a letter. Adams knew his place in history, even if at home and abroad Franklin was everyone's darling.  He deserved a portrait. Copley was to paint an eight-foot tall, full portrait of Adams, full of symbols designating  his place in history.

Art teaches values, Adams knew, and can be used as propaganda, promoting ideals that outlast personal memory.

Upon seeing the impressive portrait Adams realized the vanity of his desire. He left it behind.

Of Arms and Artists by Paul Staiti considers the lives of the great artists of the Revolution in context of their time. I was fascinated by the stories of the artists. Learning about the paintings was enlightening. For instance, on my last visit to the Detroit Art Institute I was thrilled to see Watson and the Shark by Copely. This is a painting often reproduced in books. Statai tells the story behind the painting.

The commissioned painting memorializes the experience of real life Brook Watson. The dramatic painting shows a man in the water reaching for a rope thrown from a boat while a sailor readies to harpoon a shark whose open maw is feet from the unfortunate boy.

The real Watson was a Tory politician who wanted the painting to create a personal identity, eliciting sympathy and connoting courage. He was a British spy who announced that slavery was "merciful and humane."

Americans will recognize famous paintings by these artists. They created the mythos of America.

Charles Willson Peale was an enthusiastic patriot who was a captain in the Pennsylvania militia. He was at the crossing of the Delaware and the Battles of Trenton and Princeton and the fall of Philadelphia to the British. Peale visited Valley Forge, painting miniatures of the officers--not as they were but cheery visions to send home to loved ones. He painted George Washington after the Battle of Princeton.

George Washington, Peale

John Singleton Copley left America to study in Europe. He endeavored for neutrality and painted portraits of Patriots and the British.

Paul Revere, Copley

John Trumbull captured pivotal moments in history. He witness the battle of Bunker Hill and served as an aide to Gen. George Washington. In Paris he was a go-between for Thomas Jefferson, delivering love notes to the married Maria Cosway. His paintings are in the rotunda of the U.S. Capitol including the signing of the Declaration of Independence which places historical accuracy secondary to America ideals.

Trumbull, signing of the Declaration

Benjamin West left Pennsylvania for a 'grand tour' to broaden his knowledge of art. He stayed in London as the historical painter to the court of George III. His historical paintings included The Death of General Wolfe.   He painted his close friend in the allegorical Benjamin Franklin Drawing Electricity From the Sky.

West, Benjamin Franklin

Gilbert Stuart was a master in portraiture, painting over 1,000. He studied under Benjamin West in England. Constantly in debt, he spent the summer of 1789 in  the Marshalsea Prison. His painting of George Washington was saved by Dolley Madison when the British invaded the Capitol.

Stuart, George Washington

Having read a number of books on the Revolution was an asset to understand the historical events of the paintings created by these artists, but enough information is provided by the author for the general reader. I appreciated how the author brought these men to life.

I received a free ebook from the publisher through NetGalley in exchange for a fair and unbiased review.

Of Arms and Artists
Paul Staiti
Bloomsbury Publishing
Publication October 18, 2016
$30 hard cover
ISBN 9781632864659

A Visit To the Flint Institute of Arts

My friend suggested we take a trip to the Flint Institute of Arts to see an exhibit of French photography. I had not been to the museum in over ten years, and it has been through a major remodeling since then.

Guernica by Sophie Matisse (granddaughter of Henri Matisse) was her response to witnessing the events of 9-11. She painted Picasso's Guernica, his response to the bombing of a village during the Spanish Civil War, using her grandfather's color pallet.

We arrived too early! But the Director of Development, Kathryn Sharbaugh, came out and took us on a personal tour of several galleries, educating us on specific pieces along the way.

  Dale Chihuly work was commissioned for the new lobby 

My husband's father grew up in Flint, MI. This Edmund Lewandowski mural was inspired by a map of Flint. We spent a long time looking at it. Read about how it was covered up and later restored here.

Horror Vacui by Judy Pfaff

Sculpture in the courtyard

African Mask

18th c Chinese celadon porcelain

19th c painting of the 1,000 Islands

Sleepy Hollow Church by Thomas Chambers, 1850

Birds attributed to Thomas Coke Ruckle

Ms. Sharbaugh spent a long time with the painting below, explaining the Victorian symbolism. It was painted by an itinerant Philadelphia artist for The Fowler family who had lost a child.

The Fowler children, 1854

My husband noted right off that the two children on the left were in mourning clothes while the girl on the right is in white, and surrounded by flowers. He deducted the girl in white was the deceased. Our guide explained another hint was her coral necklace; coral is the remains of a creature that was once alive. Also the painting is divided in it's background; the living children have ivy behind them, a symbol of growth, while the deceased girl has an idealized landscape behind her.

1840s portrait of a woman

I hope we return soon to see the galleries that were being dismantled for the annual craft fair. I picked up their book of American Art at the gift shop. Some of my favorite artists are represented!

Flint Institute of Arts
1120 East Kearsley St
Flint MI
Open 12-5 M-F, 10-5 Sat, 1-5 Sun