More about The Architect's Dream
Towering above most professional basketball players, The Architect's Dream by Thomas Cole was a professional miscalculation of enormous proportions.
The ambition of it, in the spirit of the pyramids and temples mashed up into its scenery, is what makes it great. In fiction, dream sequences are challenging to write, because you have to make sure that they still align with a coherent story; likewise, Cole has clearly let his imagination run wild in this work, fueled by his love for majestic, ancient buildings and his wish that they would all magically occupy one space. In this sense it qualifies as a magical realist self-portrait, showing the quintessential architect wearing what appears to be a full-length robe, looking at this fantastic composition from his perch of oversized books. As Cole wrote, architecture "opens a world beyond the visible in which we dwell...Ever hovering on the verge of the impossible, on it the mind does not dwell with satisfied delight, but takes wing & soars into an imaginary world."
Originally, Ithiel Town, the man who would later build Hartford's gothic revival Wadsworth Atheneum, was impressed by Cole's simultaneous accomplishment in both painting and architecture. At the time that Town offered to commission this painting, Cole's nephew and adopted son, Henry Bayless, had been working in Town's architectural office, helping to draw up plans for New York University. Town, with his gargantuan collection of books, told Cole that he would give him some, along with some stacks of cash, in exchange for this landscape. A year later, Cole presented him with this behemoth of a painting, seven feet tall and four and a half feet wide. The idea was for the work to be large enough to compete for attention with all the books and other knickknacks in Town's library. So as to "seal the deal," he hoped, Cole literally wrote the business arrangement in stone, on the column supporting the man: "PAINTED BY T. COLE FOR I. TOWN ARCHITECT."
Unfortunately, Town's reaction was not a good one. It wasn't in the style of Cole's work that people already knew and loved. It wasn't broke, Town griped, and still, Cole had to fix it. The deal was off. He liked the concept, Town wrote, but "I wish the landscape to predominate," rather than for the architecture to take center stage. Cole couldn't sell the huge thing, and it remained in his family's possession until the Toledo Museum of Art bought it with funds from glass baron and museum co-founder, Florence Scott Libbey.
- "A City Built of Glass." University of Toledo, https://www.utoledo.edu/library/canaday/exhibits/oi/OIExhibit/ACityBuil….
- Parry III, Elwood C. The Art of Thomas Cole: Ambition and Imagination. Newark: University of Delaware Press, 1988.
- Truettner, Julia M. Aspirations for Excellence: Alexander Jackson Davis and the First Campus Plan for the University of Michigan, 1838. Ann Arbor: University of Michigan Press, 2003.
Here is what Wikipedia says about The Architect's Dream
The Architect's Dream is an 1840 oil painting created by Thomas Cole for New York architect Ithiel Town. Cole incorporated pieces of architecture from Egyptian, Greek, Roman, and Gothic styles in various different parts of the painting, having dabbled in architecture previously. Cole finished the painting in only five weeks and showed it in the National Academy of Design annual exhibition that year. However, the painting was not well received by Town, who refused to accept the painting because he claimed that it was "exclusively architectural".
In a letter written in the late 1830s, Cole stated that:
For architecture to arrive at the perfection which we see in the best examples of Greece, Ages of expression and thought must have been necessary [for] the human mind [to] have traveled by slow degrees from the rude column of unknown stone such as formed the druidical structures through the stupendous portals of Egyptian Art to unsurpassed beauty of the Grecian Temple...Roman architecture is but depraved Greek. The forms are borrowed but the spirit was lost & it became more and more rude until it sank to the uncouth incongruities of what are called the dark ages... [Gothic] Architecture aspires to something beyond finite perfection[.] It leaves the philosophic completion of Grecian Art when all is finished to the eye and touch and appeals to the imagination. Partaking of the Genius of Christianity it opens a world beyond the visible in which we dwell...All is lofty, aspiring and mysterious. Its towers and pinnacles climb toward the clouds like airy fabricks. Ever hovering on the verge of the impossible, on it the mind does not dwell with satisfied delight, but takes wing & soars into an imaginary world. The longings, the imaginings, the lofty aspirations of Christianity have found expression in stone.
The painting was acquired by the Toledo Museum of Art in 1949.
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