  About the Artwork
  
  
  In the late nineteenth century, many American artists were drawn to Venice with its dazzling light and exotic and colorful appearance. Fisherman’s Wedding Party is the culmination of Moran’s ability to capture the luminous city. While using a light, cool palette to render the atmosphere of the lagoon, the artist focuses on the colorful fishing boats that were one of the marvels of the city.
 
Moran was so impressed by Venice that he shipped an ornate gondola back to his home in East Hampton, Long Island. He employed a Mohawk Indian, George Fowler, to pole the gondola around the grounds as a popular diversion for family and guests.
  
  
  Title
  The Fisherman&#039;s Wedding Party
  
  
  Artwork Date
  1892
  
  Artist
  Thomas Moran
  
  
  
  Life Dates
  1837-1926
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  American
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
  ----------
  
  
  Medium
  Oil on canvas
  
  
  Dimensions
  Unframed: 24 × 33 inches (61 × 83.8 cm)
  Framed: 36 1/4 × 45 3/16 × 5 inches (92.1 × 114.8 × 12.7 cm)
  
  
  Classification
  Paintings
  
  
  Department
  American Art before 1950
  
  
  Credit
  Bequest of Alfred J. Fisher
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  67.118
  
  
  Copyright
  Copyright Not Evaluated
