Between 1833 and 1836, American painter and putative "founder" of "The Hudson River School," Thomas Cole, had been hard at work on his series of paintings "The Course of Empire". The work was commissioned by New York patron Luman Reed, who had met Cole in 1832, and the two held a friendship largely based on Reed's generosity in buying Cole's paintings. Reed requested "The Course of Empire" to comprise no less than five paintings of a historic composition. Cole himself was excited by such a project, but doubt began to set in by the end of 1835. The work was slow and laborious, and Cole found great difficulty in painting the figures. Reed had begun to notice Cole was becoming lonely and depressed, and suggested that he suspend work on "The Course of Empire" and paint something that was more in his element for the April 1836 opening of the National Academy of Design's annual exhibition. Cole, in replying to Reed in a letter, stated that he felt obliged to finish the series as Reed had been so generous in his support, and instead suggested that he simply complete the last painting in the series and display that at the exhibition. Reed however, did not really like the idea, as he thought it might spoil the unveiling of the series as a whole. He suggested instead that he paint a picture much like the already completed second painting in the series, "The Pastoral State". This depicted a peaceful setting which Reed thought "no man ever produced a more pleasing landscape in a more pleasing season." Responding in a letter in March 1836, Cole agreed to take Reed's advice and paint a picture for the exhibition, writing: