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Video transcript

[Music] we're in the Amon Carter Museum of American Art looking at a large landscape painting by Thomas Cole called the hunters return and we can see the hunter returning from his hunt walking toward this lovely sunlit cottage this cottage is the home to a very settled family and you can see that from the vegetable garden the dogs that are trying to sneak a little bit of food and I love the child playing with the dog in the foreground too there's a real sense of domestic happiness here right unless you've settled the land it's unusual to see multiple generations including an infant so this represents a family that has put down roots but we are surrounded by the wilderness the wilderness that Cole so loved about the American landscape I like to talk about Cole is the first real environmentalist artist in the 19th century it was common to go abroad to Europe and Cole's best friend was the poet William Cullen Brian and he said when you go to Europe you're gonna see everywhere the trace of man everywhere human civilization in the form of buildings and ruins and what he said was unique about American culture was untouched nature so he encouraged Cole when he went abroad to keep that earlier Wilder image bright of the American wilderness no of course Native Americans were here and this wasn't this untouched landscape absolutely but how do you make a distinctive mark as an American artist for an American audience you do it by recording the places that they may not have the luxury of experiencing from their city homes and he's got everything here that you would want in a landscape he's got this fabulous sky these lovely touches of clouds this mountain range that is turning purplish as the Sun sets behind it a lake in the middle ground what looks like a little waterfall these lovely autumn trees framing this cottage that's drenched in sunlight one's eye travels through this in real enjoyment and pleasure though he's showing this wilderness we know that by the 1840s when he's painting this this is a nostalgic view because in fact the railroad is developing tanneries have populated the East Coast and the lumber merchants are deforesting the landscape and this was something that Cole returned to again and again this idea that by necessity the United States had to transform nature and make it useful and build things like the Erie Canal that enabled trade between the Northeast and the Midwest so this inevitable economic development that he feared and worried about and longed for America I think to stay very much the way he pictures it in this landscape but even here we have the sense of what's to come it's a conflicted painting because in the foreground you see the results in exaggerated form of these giant trees that have been felled for the march of civilization in fact it was the very year that this was painted 1845 that the term manifest destiny is coined many of the landscape painters were seeking new frontiers to continue that idea of uncultivated lands and that was becoming more and more difficult on the East Coast because there were very few lands that were uncultivated and so there was this desire and encouragement for people to move westward and that's the idea of manifest destiny so we might at first think that this is a painting of a specific scene a lot of the landscapes are an amalgam of many many different trips into the out-of-doors and the memories that those artists had of those specific locations Kohl himself lived in the Hudson River Valley and the Catskills so you might look at the autumn foliage as looking like something that Cole would see from his house but it's really a patchwork quilt of his experiences and other artworks including those of European artists like Claude Lorrain and works that he would have seen in engravings people often ask me how do you know that Cole was an environmentalist is that just something that you are basing on evidence that's in the pictures itself but in fact in 1836 he wrote an essay for the American monthly magazine called an essay on American scenery about America as an Eden and his concerns that the wilderness would be disappearing he wrote I cannot but express my sorrow that the beauty of such landscapes are quickly passing away the ravages of the acts are daily increasing the most noble scenes are made desolate and oftentimes with a wantonness and barbarism scarcely credible in a civilized nation this is a regret rather than a complaint such is the road Society has to travel yes'm he says there are those who regret that with the improvements of cultivation the sublimity of the wilderness should pass away we use the word sublime in a wholly positive way now we've lost the association that it had that there was both beauty and danger involved in the landscape and there is this idea in the early years of the 19th century of God's presence in nature the religious sentiment associated with the landscape was very much part of Cole's vocabulary and so you can imagine - with this idea of seeing God's handiwork in nature that this transformation of the United States into an industrial culture would arouse anxiety and it's very much in evidence and essay on American scenery is this experience of God through natural works and the dangers of disrupting that you