Destruction, Thomas Cole from the old master collection

Buy Destruction, Thomas Cole as a reproduction on canvas, ArtFrame, poster and wallpaper, printed on demand in high quality.
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Product details & specifications
Type
Textile fabric (interchangeable fabric) in an aluminium or wooden frame
Width
Aluminium: min. 30 cm – max. 15 m (other side max. 3 m)
Wood: min. 30 cm – max. 130 cm
Height
Aluminium: min. 30 cm – max. 15 m (other side max. 3 m)
Wood: min. 30 cm – max. 130 cm
Custom sizing
Made to measure, in steps of 1 cm
Frame thickness
25 mm Aluminium: 2–3 mm visible on the front
Wood: 0.5 cm visible on each side
Frame colours
Black, white, aluminium, gold
Wood: natural Ayous
Finish
Fabric: matte
Aluminium frame: matte (gold glossy)
Wooden frame: natural
Acoustic option
Yes (optional)
Sturdiness
Support bar included from 180 cm (aluminium frame)
Delivery
Self-assembly kit
Hanging
Wall mounts, or on a ceiling rail (see components)
Components
Frame, acoustic panel, wall mounts, eyelets for rail mounting (via customer service)
Not suitable for
Damp areas and outdoor use
Material
SEG textile
Acoustic material (B1 fire class, partly made from recycled PET bottles)

Components (frame, acoustic panel, wall mounts, rail mounting) can be ordered via customer service. A separate interchangeable fabric can only be hung if you already have an ArtFrame.

Size
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Aluminum frames
Wooden frames New
ArtFrame comes as a simple construction kit. View self-assembly instructions.
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Acoustic material
Total price
2 156 kr
Art code 469046
Destruction, Thomas Cole by Masterful Masters
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About ‘Destruction, Thomas Cole’

Destruction, Thomas Cole
Part of the series "The Course of Empire".

The fourth painting, Destruction, has almost the same perspective as the third, though the artist has stepped back a bit to allow a wider scene of the action, and moved almost to the center of the river. The action is the sack and destruction of the city, in the course of a tempest seen in the distance. It seems that a fleet of enemy warriors has overthrown the city's defenses, sailed up the river, and is busily firing the city and killing and raping its inhabitants. The bridge across which the triumphant procession had crossed is broken; a makeshift crossing strains under the weight of soldiers and refugees. Columns are broken, fire breaks from the upper floors of a palace on the river bank.

In the foreground a statue of some venerable hero (posed like the Borghese Warrior) stands headless, still striding forward into the uncertain future. In the waning light of late afternoon, the dead lie where they fell, in fountains and atop the monuments built to celebrate the affluence of the now fallen civilization. The scene is perhaps suggested by the Vandal sack of Rome in 455. On the other hand, a detail in the lower right of "The Consummation of Empire" shows two children, maybe brothers, fighting, one clad in red and the other in green—the colors of banners of the two contending forces in "Destruction," which thus might depict a foreshadowed civil war. The children, now men,

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