Victoria E

Dr. Houghtaling

ENG 1013.90

22 September 2015

The Voyage of Life

The National Gallery of Art in Washington D.C. is in itself a piece of art. To the

East lies a refreshing geometric contemporary gallery, home to the moderns: priceless

Picasso’s and Warhol’s. And to the West rests a building with an entrance showcasing

the most elegant ionic columns, and a precious pink Tennessee marble staircase. Within

lies valueless collections and exhibits of classical art, created by the finest of craftsmen

such as Monet, Van Gogh and da Vinci. While many come to this Smithsonian institution

to see the highlights and classics, I had the pleasure of seeing in what my opinion is the

most the breathtaking series of all: The Voyage of Life illustrated by Thomas Cole.

The four paintings hung adamantly embellishing each corner of the room, like the

legs of a regal throne. The first painting seduced me into its hopeful trance. Simply titled

Childhood, the scene depicts an infant boy sitting cheerfully upon an assortment of

fragrant flowers, under the watchful eye of the glorious, gorgeous, and gallant guardian

angel at the first light. They are floating upon a narrow but lively stream, and carried

calmly by a whittled wooden canoe. Their vessel has been adorned skillfully with cherubs

and angels comparable to Sistine Chapel frescos. The rocky cavern from which they are

steadily emerging from suggests that this is merely the beginning of their journey. The

dubious duo sets out to face the dawn of a new day.

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My eyes followed the direction of the river, gradually flowing to the right, and

approached the next canvas, entitled Youth. The infant, now a curious child, is seen

pushing off along the same lively stream, reaching toward an illusive floating palace in

the periwinkle colored clouds. His guardian angel is no longer with him in the boat, but

waving farewell from the emerald green and grassy shore. The stream appears to be a

proper path to the palace, lined with its trusting trees, and blue skies but his voyage has

yet to start. Blinded by youth, our protagonist sets out upon the stream hopeful for his

seemingly bright future.

Manhood is the next dramatic scene along this voyage, and our curious child is no

longer a stranger to the dangers of life. Anxious, alone and afraid he prepares to rush

through the white water rapids of adulthood. Ominous swirling clouds and rainstorms

flood the immediate sky, though the glimmer of a golden hopeful sunset is seen in the

distance. Crying out for help, our protagonist pleads for divine intervention… yet his all-

seeing guardian watches from a holy realm above. Only trust and faith can save him now

as he plummets toward rocky, rushing, rapids and undertakes the unforeseeable unknown.

Lastly comes Old Age. The canoe, now physically worn from the struggles behind

him, carries a faithful and feeble old man, and floats upon a calm and gentle lake. As the

heavens open before his eyes, his guardian angel has once again returned to his side.

Finally grateful for his faithful companion, our weary voyager raises his head and hands

to the heavens, as great grey clouds gradually grow lighter as the cascade into the

atmosphere, welcoming our traveller to the last leg of his voyage.

This series not only showcases the natural beauty of 19th century American

wilderness, but also addresses the importance of faith through the divergent stages of life.

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Arresting and applicable, Cole perfectly captivates his audience with his use of

contrasting colors, and sensational scenes. Through Childhood, Youth, Manhood, and Old

Age, the river of life is always flowing. The final canvas, —Old Age— features another

angel that is seen reaching out for the pair, as they end their journey how it began:

together.

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Works Cited

Cole, Thomas. The Voyage of Life. 1842. Oil on canvas. National Gallery of Art,

Washington D.C.

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