Others served as documentarians on expeditions of continental discovery sent out by the U. S. government or by European sponsors. In these roles, artists were uniquely positioned to record the topography, animal and plant life, and diverse Indian culture of America and its frontiers. Finding and collecting drawings, oil paintings, watercolors, and published lithographs by these European and American documentary artists was one of the museum's earliest goals. Documentary artists represented in the collection include John James Audubon (1785–1851), Karl Bodmer (1809–1893), George Catlin (1796–1872), Charles Deas (1818–1867), Seth Eastman (1808–1875), Edward Everett (1818–1903), Francis Blackwell Mayer (1827–1899), Alfred Jacob Miller (1810–1874), Peter Moran (1841–1914), Thomas Moran (1837–1926), Peter Rindisbacher (1806–1834), John Mix Stanley (1814–1872), William Guy Wall (1792–after 1864), Carl Wimar (1828–1862), and others. See Works on paper (below) for more information on American expeditionary art. The Hudson River School, one of the critical movements in nineteenth-century American landscape painting, is an important focus of the ACMAA collection. Two major oils by Thomas Cole (1801–1848) and one by Cole’s protégé Frederic Edwin Church (1826–1900) anchor the museum’s holdings of signature Hudson River School paintings. "The Narrows from Staten Island" (1866–68), a panoramic depiction of Staten Island and New York Harbor by Jasper Francis Cropsey (1823–1900), is a notable example of the Hudson River School‘s preoccupation with scenery along the Hudson River Valley and surrounding area (see picture gallery below). The Pre-Raphaelite movement, a British movement that was briefly influential among some artists of the Hudson River School in the mid-nineteenth century, is exemplified in "Woodland Glade" (1860) by William Trost Richards (1833–1905) and "Hudson River, Above Catskill" (1865) by Charles Herbert Moore (1840–1930). The Moore painting depicts an identifiable portion of the Hudson River adjacent to the home of Thomas Cole, making it likely that the painting was intended as a tribute to Cole.