The nineteenth-century American painter Thomas Cole (1801-1848) lived during the period known as the Transcendentalist movement, itself being influenced by Romanticism (positively) and industrialization (negatively). The Transcendentalists included Ralph Waldo Emerson, Henry David Thoreau, Margaret Fuller, and many others—essayists, philosophers, poets, and abolitionists. A central focus in Transcendentalist thought and writing was a return to nature. This is understandable, considering the rise in bustling cities and materialism. This return to nature is evinced by the rise of naturalism (nature or landscape scenery) in art during this period.
Thomas Cole’s renowned four-part series, “The Voyage of Life,” beautifully represents the natural trends of his time, as well as his spiritual convictions. These paintings depict the voyage of life from birth to death along a river (the river of life) with each period corresponding to a season (the seasons of life).
The baby is delivered from the mountain’s pass, obviously suggestive of the birth canal, and enters the verdant spring of life accompanied by a guardian angel. The position of the sun is also important in this scene, as its rising marks the start of a new day (suggestive of a new life). The boat is formed by a host of angels, further suggesting the protection and guidance of the child. If you look closely at the bow (front), you’ll see that an angel is carrying an hourglass, thereby symbolizing the mortality of this life.
The little child has now grown to be a youth of roughly teen years; he’s in the summer of life, basking in its lush beauty. There is a wider scene, suggestive of exploration. Notably, the guardian angel is no longer steering the boat, but has given over the task to the boy who is ready and eager for the responsibility. The gesture of the angel seems to further communicate a passing of duties. In the background is a celestial city of ethereal light, crowned with a pearl (of great price) and lit by flames of fire. If you zoom in closely to the celestial city, you’ll see light images of angels. The boy’s posture and outstretched arm shows his commitment to reach this heavenly realm, serving as a guiding light for his ongoing voyage through the sands of time.
With the verdant and lively seasons of life now behind him, the now man continues down the river of life in its autumnal season. Manhood brings with it many trials and temptations, as depicted in this scene. The rather care-free seasons of life are a thing of the past as the man braces for the cares of this world with hands clasped in prayer. The ominous rocky rapids are only intensified by the dead tree, setting sun, and storm clouds above. If you look closely, the gray clouds above the man are two long-haired and bearded figures (and there’s possibly a third face). One bears a cup, perhaps signifying the man’s lot in life or the fury that is being poured out on him. The hopeful elements of the scene are that he’s still being borne by the angels (the boat), the hourglass remains, and his guardian angel looks down on him from the glories of heaven, though he himself may not see it or feel it.
The tranquil scene of old age—life’s winter season—is readily apparent. He has come through the rocky rapids of life intact and still within the safety of the boat; but the hourglass is now missing from the bow, which has been broken off. His time has come. His voyage has reached its destination. There is no sun for light, save the glory of heaven that shines down upon him, beckoning him home. His guardian angel, now by his side again, gestures toward the heavenly host: zoom in and you’ll see angels descending from on high. The old man expresses his readiness with open arms. He leaves this dark world for the beatific vision of heaven.
Thomas Cole’s “The Voyage of Life” is a masterpiece of imagery on the seasons of life. Its beauty and ease of interpretation makes it a suitable work of art for discussion and contemplation. It acquaints children with the realities of life and the hope of heaven. It also serves as a representative of natural, scenic art during 19th century America. In this, as is true of any art, it opens the door for further exploration and understanding of the times.
Drew S. C. Mery 