Peter Croteau, “Neutaconkanut Park, Looking Out Over Providence” (2011) (all images courtesy the artist)

“[American scenery] has its own peculiar charm — a something not found elsewhere,” the 19th-century painter Thomas Cole once wrote. The Hudson River School founder and his followers were given to romanticizing the North American wilderness: their paintings presented it as a verdant Canaan ripe for the taking, helping establish a mythical national identity that’s been hard to shake since.

In 2010, photographer Peter Croteau decided to revisit the landscape of one of Cole’s most famous paintings to compare how the folklore fares with the facts. He had been particularly drawn to “The Oxbow” — formally titled “View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm” (1836) — while visiting the Metropolitan Museum of Art as an undergraduate art history major, struck by the way it suggested dark consequences to westward expansion.

“The left side of the painting shows a stormy, wild, and unclaimed landscape, while the right side depicts the new landscape of man and its agrarian settlements along the Connecticut River,” he told Hyperallergic. “The broken tree in the foreground barely hangs on for its life, representing the fragile natural landscape.”

The prophetic nature of Cole’s painting became clear when Croteau reached the top of Mount Holyoke — a massive parking lot sat just 50 feet away from the spot where the artist had long ago positioned himself to paint. He decided to turn away from the Oxbow and document it instead. “The prescribed views of the landscape that our society reveres are no more important than any other space in the American landscape,” he explained.

Croteau continued recording similarly mundane scenes. He shot tract house suburbs, hidden dumping sites, and abandoned trailers — all from high vantage points in moody weather and otherworldly lighting conditions, tropes the Hudson River School used to provoke awe. “Construction Site” (2012) even mimics the composition of “The Oxbow” itself, with a tree in the left-hand corner entrapped by orange industrial netting.

“Paintings of the Hudson River School preserved the image of a place in all its glory but not the actual place itself,” Croteau said. By depicting the modern landscape realistically, his series The Road to Oxbow suggests a truer American national identity — one in which consumption and waste have a far more central place than nature.

Peter Croteau, “Sprawl” (2010)

Peter Croteau, “Construction Site” (2012)

Peter Croteau, “Hidden Dumping Site” (2010)

Peter Croteau, “Walmart Parking Lot” (2010)

Peter Croteau, “Billboard Mountains” (2010)

Peter Croteau, “Abandoned Trailers” (2010)

Peter Croteau, “Culdesac” (2010)

Peter Croteau, “Soil Quarry” (2011)

Peter Croteau, “Parking Lot, Headlights” (2010)

Peter Croteau, “Beginnings of Development” (2011)

Peter Croteau, “Roadside Scenic View, No Trespassing” (2010)

Peter Croteau, “Power Line in Fog” (2012)

Peter Croteau, “Mount Holyoke Parking Lot, Looking Away From The Oxbow” (2010)

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Laura C. Mallonee

Laura C. Mallonee is a Brooklyn-based writer. She holds an M.A. in Cultural Reporting and Criticism from NYU and a B.F.A. in painting from Missouri State University. She enjoys exploring new cities and...

One reply on “A Photographer Visits the Contemporary Landscape of Thomas Cole’s “The Oxbow””

  1. “…consumption and waste…”

    There is little consumption and waste in these photographs. There are houses, conduits for electricity, clothing retailers, and places for people to park their means of transportation. If the industrial means by which people live in the Hudson are “consumption and waste,” how might the artist and this author justify their own “urban” ways of living, much less their elitist denigration of others? The photographer charges his little camera batteries, drives to these locations in a car, and wears clothes purchased from a store. Or does he wear animal hides he got from hunting outside his teepee with a blowgun? The author here plugs in her computer to criticize the way computers are powered, in places where she does not live.

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