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An in depth description of Thomas Cole's Hudson River School era series called The Voyage of Life
Citation preview
Victoria E
Dr. Houghtaling
ENG 1013.90
22 September 2015
The Voyage of Life
The National Gallery of Art in Washington D.C. is in itself a piece of art. To the
East lies a refreshing geometric contemporary gallery, home to the moderns: priceless
Picasso’s and Warhol’s. And to the West rests a building with an entrance showcasing
the most elegant ionic columns, and a precious pink Tennessee marble staircase. Within
lies valueless collections and exhibits of classical art, created by the finest of craftsmen
such as Monet, Van Gogh and da Vinci. While many come to this Smithsonian institution
to see the highlights and classics, I had the pleasure of seeing in what my opinion is the
most the breathtaking series of all: The Voyage of Life illustrated by Thomas Cole.
The four paintings hung adamantly embellishing each corner of the room, like the
legs of a regal throne. The first painting seduced me into its hopeful trance. Simply titled
Childhood, the scene depicts an infant boy sitting cheerfully upon an assortment of
fragrant flowers, under the watchful eye of the glorious, gorgeous, and gallant guardian
angel at the first light. They are floating upon a narrow but lively stream, and carried
calmly by a whittled wooden canoe. Their vessel has been adorned skillfully with cherubs
and angels comparable to Sistine Chapel frescos. The rocky cavern from which they are
steadily emerging from suggests that this is merely the beginning of their journey. The
dubious duo sets out to face the dawn of a new day.
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My eyes followed the direction of the river, gradually flowing to the right, and
approached the next canvas, entitled Youth. The infant, now a curious child, is seen
pushing off along the same lively stream, reaching toward an illusive floating palace in
the periwinkle colored clouds. His guardian angel is no longer with him in the boat, but
waving farewell from the emerald green and grassy shore. The stream appears to be a
proper path to the palace, lined with its trusting trees, and blue skies but his voyage has
yet to start. Blinded by youth, our protagonist sets out upon the stream hopeful for his
seemingly bright future.
Manhood is the next dramatic scene along this voyage, and our curious child is no
longer a stranger to the dangers of life. Anxious, alone and afraid he prepares to rush
through the white water rapids of adulthood. Ominous swirling clouds and rainstorms
flood the immediate sky, though the glimmer of a golden hopeful sunset is seen in the
distance. Crying out for help, our protagonist pleads for divine intervention… yet his all-
seeing guardian watches from a holy realm above. Only trust and faith can save him now
as he plummets toward rocky, rushing, rapids and undertakes the unforeseeable unknown.
Lastly comes Old Age. The canoe, now physically worn from the struggles behind
him, carries a faithful and feeble old man, and floats upon a calm and gentle lake. As the
heavens open before his eyes, his guardian angel has once again returned to his side.
Finally grateful for his faithful companion, our weary voyager raises his head and hands
to the heavens, as great grey clouds gradually grow lighter as the cascade into the
atmosphere, welcoming our traveller to the last leg of his voyage.
This series not only showcases the natural beauty of 19th century American
wilderness, but also addresses the importance of faith through the divergent stages of life.
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Arresting and applicable, Cole perfectly captivates his audience with his use of
contrasting colors, and sensational scenes. Through Childhood, Youth, Manhood, and Old
Age, the river of life is always flowing. The final canvas, —Old Age— features another
angel that is seen reaching out for the pair, as they end their journey how it began:
together.
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Works Cited
Cole, Thomas. The Voyage of Life. 1842. Oil on canvas. National Gallery of Art,
Washington D.C.
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