The Jolly Flatboatmen

George Caleb Bingham was one of the most important American painters of genre subjects in the mid-19th century. His series of scenes of life and work on the Missouri and Mississippi Rivers established his reputation in his own day and are today recognized as his finest creations. _The Jolly Flatboatmen_, along with _Fur Traders Descending the Missouri_ (1845, Metropolitan Museum of Art), are the masterpieces of Bingham’s river pictures and icons of American art. In 1847, the American Art-Union, which had purchased _The Jolly Flatboatmen_ directly from the artist, produced a large mezzotint of it that was distributed to its members (approximately 10,000) throughout the country, immediately making it one of the best-known works of art of its era. It depicts a group of men who, after accomplishing the hard work of rowing their flatboat upstream and loading it with cargo, are now relaxing and enjoying music and dancing. Bingham’s careful attention to detail is everywhere evident—a raccoon pelt hanging from a nail; a coil of rope; a turkey, which sticks its head out between the slats of the crate below the dancing man; a blue shirt hanging to dry. The composition is at once dynamic—the dancing man and the musicians—and elegantly stable in the way Bingham arranged the figures to form an isosceles triangle. The painting survives in superb condition, with its subtle brushwork, soft colors, and precise drawing intact.

_The Jolly Flatboatmen_ joins two paintings by Bingham already in the Gallery’s collection—a fine early landscape, _Cottage Scenery_ (1845) and _Mississippi Boatman_ (1850). The Gallery’s 2014-2015 acquisition of works from the Corcoran collection significantly strengthened its representation of American genre painting. Superb works were added by Bingham’s contemporaries William Sidney Mount (_The Tough Story–Scene in a Country Tavern_, 1837), William Tylee Ranney (_The Retrieve_, 1850), and Richard Caton Woodville (_Waiting for the Stage_, 1851). _The Jolly Flatboatmen_ now becomes the cornerstone of that group and one of the most significant paintings in the Gallery’s collection of 19th-century American paintings.