The Course of Empire: Destruction

While Thomas Cole built a successful career painting the scenery of the Hudson River Valley, he aspired to imbue landscape with a higher purpose. As early as 1827 he conceived a grand cycle of paintings that would illustrate the rise and fall of a civilization, and a few years later he began sketching and developing his ideas. The resulting series charts the course of an imaginative empire as it appears in the midst of wilderness, expands into a glistening metropolis, and collapses into ruin. Cole’s pessimistic allegory about doomed imperial ambition—likely intended as a warning about the fate of the United States—differed from prevailing beliefs among his contemporaries that the young Republic would never fail.

Luman Reed, who commissioned The Course of Empire, did not live to see its completion. He died in June 1836, but Reed's family encouraged Cole to complete the work. The series was exhibited to great acclaim in New York later that year. The Course of Empire, along with the rest of Reed's collection, became the core of the New-York Gallery of the Fine Arts. That group of works was donated to the New-York Historical Society in 1858, forming the foundation of its acclaimed collection of American landscape painting.

This fourth and most dramatic painting of the series depicts the ruin of civilization. On August 30, 1836 the artist wrote to his friend and fellow artist Asher B. Durand "I have been engaged in Sacking & Burning a city ever since I saw you & am well nigh tired of such horrid work." The vainglorious city that Cole depicted in The Consummation of Empire has fallen into war. A colossal figure, modeled on the Borghese Warrior, witnesses the rapacious acts of the invading army. He has lost his head, signaling the loss of rational control and reign of brute force.