Thomas Cole — Schroon Mountain After a Storm Print
1838
Illustrative frame preview.
National Gallery of Art, WashingtonOriginal work, 1839
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Thomas Cole — Crawford Notch, White Mountains Print
A narrow mountain pass opens beneath shifting clouds, with trees and water in the valley below. Cole uses bright distance and dark foreground to create depth.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
$29.00
Delivery to the contiguous US and Washington, DC.
Paper, size & framing
Fine-art print on 200 gsm enhanced matte paper. Measurements are the paper dimensions, including the white border. Framing adds to the overall dimensions. The artwork keeps its approved composition within those margins. White, natural and dark wood frames are ready to hang with plexiglass.
About the artwork
A narrow mountain pass opens beneath shifting clouds, with trees and water in the valley below. Cole uses bright distance and dark foreground to create depth.
A fine-art giclée reproduction on 200 gsm uncoated paper. The complete composition is presented with a white paper border. Choose from the available sizes and unframed or framed finishes.
- Artist
- Thomas Cole
- Artwork
- Thomas Cole — Crawford Notch, White Mountains Print
- Date of work
- 1839
- Museum collection
- National Gallery of Art, Washington
About Thomas Cole
American, born in England · 1801–1848
Thomas Cole was born in Lancashire, England, and emigrated with his family to the United States at seventeen. He worked as a wood engraver and received early instruction from a travelling artist. Landscape gradually became his principal subject. His paintings helped establish the artistic direction later associated with the Hudson River School.
Cole combined observation of nature with an interest in history, imagination and moral meaning. His work moves between recognisable American places and invented or allegorical worlds. European travel extended his subjects and his engagement with earlier landscape traditions. A view could describe a place while also asking larger questions about civilisation, time and the relationship between people and nature.
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