Expulsion from the Garden of Eden, 1828 by Thomas Cole
Canvas Print - 4579-CTH
Location: Boston Museum of Fine Arts, Massachusetts, USAOriginal Size: 99 x 137 cm
Giclée Canvas Print | $60.07 USD
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*Max printing size: 41.2 x 57.1 in
*Max framing size: Long side up to 28"
"Expulsion from the Garden of Eden" will be custom-printed for your order using the latest giclée printing technology. This technique ensures that the Canvas Print captures an exceptional level of detail, showcasing vibrant and vivid colors with remarkable clarity.
Our use of the finest quality, fine-textured canvas lends art reproductions a painting-like appearance. Combined with a satin-gloss coating, it delivers exceptional print outcomes, showcasing vivid colors, intricate details, deep blacks, and impeccable contrasts. The canvas structure is also highly compatible with canvas stretching frames, further enhancing its versatility.
To ensure proper stretching of the artwork on the stretcher-bar, we add additional blank borders around the printed area on all sides.
Our printing process utilizes cutting-edge technology and employs the Giclée printmaking method, ensuring exceptional quality. The colors undergo independent verification, guaranteeing a lifespan of over 100 years.
Please note that there are postal restrictions limiting the size of framed prints to a maximum of 28 inches along the longest side of the painting. If you desire a larger art print, we recommend utilizing the services of your local framing studio.
*It is important to mention that the framing option is unavailable for certain paintings, such as those with oval or round shapes.
If you select a frameless art print of "Expulsion from the Garden of Eden" by Thomas Cole, it will be prepared for shipment within 48 hours. However, if you prefer a framed artwork, the printing and framing process will typically require approximately 7-8 days before it is ready to be shipped.
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Painting Information
Forget subtlety. Cole's "Expulsion from the Garden of Eden" doesn't just depict the biblical exile - it practically hurls you into the void alongside Adam and Eve. This is Romanticism with a capital R, American-style, where nature itself becomes a theological battleground of operatic proportions. The technique reveals Cole's true intentions - those meticulously detailed foreground elements (gnarled roots clutching desperately at stone) set against atmospheric backgrounds where Eden dissolves into golden haze. His control of water is particularly telling - from the violent cascade of the foreground waterfall to the glassy reflective surfaces within paradise itself. This is painting as environmental prophecy.
Historical context matters enormously here. Cole, having immigrated to America at eighteen, brought with him the apocalyptic visual language of British Romanticism - particularly John Martin's lurid illustrations for Milton's "Paradise Lost" - but deployed it toward distinctly American concerns. This 1828 work, exhibited at the National Academy of Design in New York, represents Cole's ambitious attempt to elevate landscape from mere scenery to profound narrative. Though it initially failed to sell, it set him on a trajectory toward his monumental "Course of Empire" series that would cement his reputation. One detects in this canvas the seeds of the environmental consciousness that would later flower in his 1835 "Essay on American Scenery," where he would lament the rapid encroachment of "progress" upon the pristine wilderness - his metaphoric Eden.
The composition confronts us with a stark geological border between states of being. On one side: desolation, shadow, mortality. On the other: abundance, light, eternal spring. The massive stone archway forming this threshold becomes both literal and metaphorical - a point of no return. Cole deliberately unbalances the canvas, drawing the eye from threatening darkness toward the luminous paradise glimpsed through that fateful portal. The human figures are rendered almost microscopically small against towering promontories, emphasizing their new insignificance. This manipulation of scale isn't mere theatricality but theological statement - humanity dwarfed by both divine creation and divine punishment.
Color does the heavy philosophical lifting throughout. The foreground's somber palette - those murky browns, charcoal grays and withered greens, punctuated by skeletal tree forms - creates a wasteland of biblical proportions. Notice how a predatory wolf lurks among the shadows, nature now turned hostile. This darkness strategically frames the vibrant emeralds, cerulean blues and golden yellows that define Eden beyond. Most electrifying is Cole's handling of light, which pours through the rocky portal like divine revelation itself, creating the painting's central drama. This isn't just dramatic contrast but visual theology - illumination versus ignorance, grace versus desolation. In this single canvas, Cole captures the entire American experiment: paradise perpetually glimpsed, perpetually lost, with civilization itself cast as both exile and consequence.
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