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©
Museo Nacional Thyssen-Bornemisza, Madrid
James Goodwyn Clonney

Fishing Party on Long Island Sound Off New Rochelle

1847
Oil on canvas.
66 x 92.7 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
91
(
1981.28
)
Room 30
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Fishing Party on Long Island Sound off New Rochelle is one of the finest example of James Goodwyn Clonney’s genre painting. The artist admirably combines a theme centred on the simple life of the inhabitants of the small coastal town of New Rochelle with a formal aesthetic that is close to Luminism. It is undeniable that Clonney drew from the painters Georg Caleb Bingham and William Sidney Mount, the first to reconcile classical order and serenity with rural themes. The painting in the Museo Thyssen-Bornemisza is very similar in composition to Bingham’s Fur Traders Descending the Missouri, a theme that denotes a certain nostalgia for the river scenes of previous periods while displaying formal features that recall Luminism and the painting of Mount, such as Eel Spearing at Setauket.

The painting depicts a fishing party on Long Island Sound. Three fishermen in a small boat in the centre of the composition are subjected to three opposite lines of force: the rod that rotrudes from the boat on the left side; the anchor rope on the right; and the line clutched by the boy in the centre, the tautness of which indicates that a fish has just taken the bait. The people depicted in the painting had already been portrayed in earlier works: an elderly man in a top hat; a boy with a round, flat face and a certain air of caricature about him; and a young black man lying in the pose of an antique faun. Unlike the paintings of Bingham and Mount, Clonney’s work has a characteristic element of humour, as borne out by the penetrating, sceptical gaze the man directs at the boy and the carefree attitude of the reclining figure at the stern. Nevertheless, the slightly grotesque tone of the action is tempered by the minute and calm handling of the background scenery bathed in golden light. According to Lucretia H. Giese, a scholar of Clonney’s work, the painting in the Thyssen-Bornemisza collection was shown at the American Academy of Fine Arts in 1847, with the title Fishing. On the Sound.

Paloma Alarcó
19th Centurys. XIX - Pintura norteamericana. CostumbrismoPaintingOilcanvas
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Fishing Party on Long Island Sound off New Rochelle

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Fishing Party on Long Island Sound Off New Rochelle. Pesca en el estrecho de Long Island a la altura de New Rochelle, 1847
Fishing Party on Long Island Sound Off New Rochelle
James Goodwyn Clonney

©

Museo Nacional Thyssen-Bornemisza, Madrid

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Fishing Party on Long Island Sound Off New Rochelle. Pesca en el estrecho de Long Island a la altura de New Rochelle, 1847
Fishing Party on Long Island Sound Off New Rochelle
James Goodwyn Clonney

©

Museo Nacional Thyssen-Bornemisza, Madrid

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