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  • Falls of the Kaaterskill
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  • The Clove, Catskills
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  • The Course of Empire: The Savage State
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  • The Course of Empire: The Arcadian or Pastoral State
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  • The Course of Empire: The Consummation of Empire
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  • The Course of Empire: Destruction
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  • The Course of Empire: Desolation
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  • View from Mount Holyoke, Northampton, Massachusetts, After A Thunderstorm (The Oxbow)
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  • View on the Catskill, Early Autumn
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  • The Voyage of Life: Childhood (First Set)
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  • The Voyage of Life: Youth (First Set)
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  • The Voyage of Life: Manhood (First Set)
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  • The Voyage of Life: Old Age (First Set)
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  • The Architect's Dream
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  • Mount Etna From Taormina, Sicily
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  • A View of the Two Lakes and Mountain House, Catskill Mountains, Morning
  •  
  • Kindred Spirits
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The Course of Empire: The Savage State

Thomas Cole. Oil on canvas, 1834, 39 ½ x 63 ½ in. Collection of The New-York Historical Society, 1858.1.

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The Course of Empire

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The Course of Empire: The Savage State
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Salvator Rosa, Rocky Landscape with a Hunter (Paysage rocheux avec un chasseur), oil on canvas, 1615-1673, 55 9/10 x 75 3/5 in. The Louvre, acquired 1816. View in Scrapbook

Cole saw many different paintings on his trip to Europe in 1829-32. He was particularly interested in the wild landscapes of the Italian Baroque artist Salvator Rosa (1615-73), with their dramatic rocky crags, broken tree branches, and stormy skies. In 1832, the New-York Mirror reported that Cole had returned from Europe with "two original paintings by Salvator," although these were most likely copies. Paintings such as Rosa's Rocky Landscape with a Hunter—which was in the Louvre's collection at the time of Cole's trip—were primary influences on Cole's The Savage State, which displays a similar use of natural elements to convey a sense of drama. 1  For landscapists of Cole's time, Rosa's work exemplified the aesthetic features of the sublime.

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