Thomas Moran

A Game of Natural Treasures


With the establishment of Yellowstone National Park on March 1, 1872, Americans began embracing the idea of preserving and protecting the best of the United States’ natural treasures for the benefit and enjoyment of generations to come. In the years following the end of the Civil War, an increasing number of travelers navigated the country exploring and enjoying the landscape. They shared their discoveries and encounters through a variety of printed media, and soon these sites were recognized as iconic American landmarks.
Yellowstone National Park, America, playing cards, game, lesiure, Grand Canyon, Niagra Falls, Yosemite, Civil War, Thomas Moran

America's Beauty on a Vase


This beautiful depiction of an encampment at sunset conjures up the idealism of the American landscape that artists like Frederic Edwin Church, Albert Bierstadt, and Thomas Moran helped to create in paintings [Fig.1].
Indian, Native American, tepee, sunset, Frederic EdwinChurch, Thomas Moran, Albert Bierstadt, Adirondacks, camps, Edward Timothy Hurley, Rookwood, ceramic, stoneware, glaze

The Best Possible View


Thomas Moran was one of the artists who in the mid-nineteenth century produced landscape images of the West that contributed to and reinforced the development of an American identity.   These views, however, were frequently constructed, edited, or manipulated to reinforce a sense of national pride and feeling of unity during and immediately following the Civil War.  This ethereal view of the famous site of Half Dome in Yosemite was based on Moran’s many sketches of the scene, drawings and photographs by other artists, as well as his recollections of his many visits ther
Thomas Moran, landscape, Thomas Cole, Yosemite, mountains, drawing, watercolor, etching

Exploring the Grand Canyon


Thomas Moran painted this beautiful watercolor of the Grand Canyon on a 1901 trip that was organized and paid for by the Santa Fe Railroad.   The Railroad treated Moran and other artists to a three-week excursion at the Canyon, together with a guide to point out the most picturesque views.  The Railroad’s aim was to get artists to paint the sites which would encourage tourists to visit the Canyon.  It is a revealing example of artists col
Thomas Moran, America, landscape, tourism, Grand Canyon, National Parks, Yosemite, Yellowstone, Santa Fe Railroad

Training the Hand and Eye: American Drawings from the Cooper-Hewitt Collection


Seventy-five sketches and preparatory drawings are on display by 34 leading American artists, including Winslow Homer, Frederic Church, Kenyon Cox, and Thomas Moran. These unfinished works often annotations and notes, which help provide insights into the artistic process. This exhibition features selections from the more than 7,000 American drawings in the Cooper-Hewitt Museum’s permanent collection.
drawings, American, Frederic Edwin Church, Winslow Homer, Thomas Moran, Kenyon Cox, permanent collection, traveling exhibitions, ch:exhibition=35349519

Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape


Frederic Church, Winslow Homer, and Thomas Moran: Tourism and the American Landscape explores the promotion of scenic tourism in 19th century America through Cooper-Hewitt’s extraordinary collections of oil paintings, drawings, and watercolors by these artists. The exhibition presents the Museum’s American landscape collection at Cooper-Hewitt for the first time in more than 15 years, and is the premiere showing of many of its Homer oil paintings.
Tourism and the American Landscape, Frederic Church, Winslow Homer, Thomas Moran, oil paintings, paintings, drawings, watercolors, exhibitions, 19th century, ch:exhibition=35350755