A Funeral Oration, Occasioned by the Death of Thomas Cole: Delivered Before the National Academy of Design, New-York, May 4, 1848

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D. Appleton, 1848 - Art - 42 pages

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Page 38 - CALL it not vain: — they do not err, Who say, that when the Poet dies, Mute Nature mourns her worshipper, And celebrates his obsequies: Who say, tall cliff, and cavern lone, For the departed Bard make moan; That mountains weep in crystal rill; That flowers in tears of balm distil; Through his loved groves that breezes sigh, And oaks, in deeper groan, reply; And rivers teach their rushing wave To murmur dirges round his grave.
Page 12 - ... carried the eye over scenes of wild grandeur peculiar to our country , over our aerial mountain-tops with their mighty growth of forest never touched by the axe, along the banks of streams never deformed by culture, and into the depth of skies bright with the hues of our own climate...
Page 37 - Cole used the winnowing processes of memory and time: ". . . you never succeed in painting scenes, however beautiful, immediately on returning from them ... I must wait for time to draw a veil over the common details...
Page 12 - Bryant in his funeral oration, "he had a fixed reputation, and was numbered among the men of whom our country has reason to be proud." He went to Europe in 1831, where his success was not marked, and on his return to America his friends said of him that he had lost his American spirit which gave his pictures their character before leaving for Italy; but he soon recovered his old-time enthusiasm and regained...
Page 1 - COLE'S works did not appear ou ils walls: * To have missed them/ he adds, ' would have made us feel that the collection was incomplete. Yet we shall miss them hereafter ; that skilful hand is at rest forever. His departure has left a vacuity which amazes and alarms us. It is as if the voyager on the Hudson were to look toward the great range of the Catskills, at the foot of which COLE, with a reverential fondness, had fixed his abode, and were to see that the grandest of its summits had disappeared...
Page 3 - The paintings of Cole are of that nature that it hardly transcends language to call them acts of religion.' While his rich, brushy panoramas demonstrated the insignificance of man as he confronted God's handiwork, their programmatic organization stressed the vanity and brevity of his existence. His proudest achievements - The Course of Empire, The Departure and the...
Page 20 - That he would have been a great painter," says Bryant, "if he had never studied abroad — scarcely less great on that account — no man can doubt ; but would he have been able to paint some of these pictures which we most value and most affectionately admire ; that fine one, for example, the Ruins of Aqueducts in the Campagna of Rome, with its broad masses of shadow dividing the sunshine that bathes the solitary plain, strewn with ruins ; its glorious mountains in the distance, and its silence...
Page 26 - ... glorious picture, and the idea of the poet could not have been better illustrated. With regard to the actual views, and other less ambitious proSecond visit to Europe. — Pictures of American scenery. ductions of Cole, we can only say that the entire number might be estimated at about one hundred. " In July, 1841, Cole sailed on a second visit to Europe. On this occasion he travelled much in Switzerland, which he had never before seen, lingering as long as the limits of the time he had prescribed...
Page 15 - I rejoice to hear your report of Morse's advance in his art. / know what is in him, perhaps, better than any one else. If he will only bring out all that is there, he will show powers that many now do not dream of."* * Mr.
Page 39 - ... because of his departure. . . . The region of the Catskills, where he wandered and studied and sketched, and wrought his sketches into such glorious creations, is saddened by a desolate feeling when we behold it and think of it. The mind that we knew was abroad in those scenes EULOGY ON COLE. 35 of grandeur and beauty, and which gave them a higher interest in our eyes, has passed from the earth, and we see that something of power and greatness is withdrawn from the sublime mountain-tops and the...

About the author (1848)

Like so many successful New Yorkers during the nineteenth century, William C. Bryant was born and reared in New England. There, in his native Massachusetts, among the beautiful highlands of the Berkshires, he learned early to be a close observer of nature and a careful student of English versification. A child prodigy, he began to make rhymes before his tenth birthday, and in 1808 he gained some fame as the author of The Embargo, or Sketches of the Time, a satire in verse in which he echoed the conservative political sentiments of his elders. Soon, however, he found his own voice and point of view, and the poetry that followed, unlike so much of the literature that was being produced in the United States in the early decades of the nineteenth century, was considered by his contemporaries to be unmistakably American. During his own lifetime and since, his most famous poem has been "Thanatopsis" (from the Greek thanato and opsis, meaning "a meditation on death"), which was first published in the North American Review in 1817. Other poems, such as "Inscription for the Entrance to a Wood" (1817), "A Forest Hymn" (1825), and "To the Fringed Gentian" (1832), printed during the next several decades, brought him recognition both at home and abroad as the leading poet in the United States. Always solemn and stately, his verse seemed cold to James Russell Lowell, who humorously spoke of Bryant's "iceolation." But others praised Bryant for his careful artisanship, his commitment to romantic aesthetics, his celebration of nature, and his liberal faith in the historical destiny of the United States. Matthew Arnold called "To a Waterfowl" (1818) one of the finest short lyrics in the English language, and "The Prairies" (1833) and "Earth" (1835) have been seen as noble literary expressions "of the Jacksonian version of the American Dream." By training a lawyer and by profession a journalist, Bryant was editor-in-chief of the New York Evening Post from 1829 until his death in 1878. This position gave him enormous influence on national affairs, and his early support for the fledgling Republican party in the 1850s helped insure that party's success. When he was nearly 80 years old, he translated the Iliad and Odyssey of Homer into English blank verse. Bryant died in 1878.

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