The Course of Empire: The Consummation of Empire

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.

Cole intended this third and largest painting as the visual climax of the series. Gleaming white classical structures now encrust the land. An emperor-like figure is carried in a procession across the foreground bridge. Nature and the arts have been pressed into the service of glorifying the ruler. An elephant tows his chariot, and domesticated flowers and potted plants decorate his domain. The red-cloaked conqueror likely references President Andrew Jackson, whom critics condemned as dangerously autocratic. This painting was the most difficult for Cole to execute, and after several months he declared that he was "tired of the gaud and glitter" of the scene.