The U. S. Ship Franklin, with a View of the Bay of New York 1820 - 1830

Curator: Well, aren't these ships a majestic sight? Thomas Thompson's "The U.S. Ship Franklin, with a View of the Bay of New York," probably made sometime in the 1820s, certainly captures a grand maritime tableau. Editor: I'm immediately struck by the serenity of it. It feels like a celebration of power, but presented with a calm grace. The ships, while imposing, are almost dreamlike against that muted sky. Curator: Thompson does give us this very specific moment. This artwork shows the USS Franklin, one of the first warships constructed after the War of 1812, among an assortment of ships sailing past what looks like Governors Island. The artist depicts the area between 1820 and 1830, after Fort Columbus (now Fort Jay) was rebuilt with granite following its capture by the British during the Revolutionary War. Editor: There's something unsettling about this presentation of maritime prowess. While it portrays trade and the "American spirit," we must ask ourselves for whom exactly were these opportunities and possibilities open? These ships often facilitated and profited from the oppression and enslavement of people around the world. So, to view them through rose-tinted glasses, it's really ahistorical. Curator: I see your point about acknowledging history in its full complexity. For me, it’s not just about valorizing American exceptionalism, though I’m sure for some, it might hit that patriotic nerve. Editor: Absolutely, and let’s also reflect on the artist. We know practically nothing about Thompson other than a few signed paintings. We’re confronted with another absence here— another erased or omitted history. Curator: The composition, despite its tranquility, has an almost chaotic feeling— all those sails and flags billowing at slightly different angles. A lovely painterly mess. It also evokes that strange tension when humans try to tame and frame the untamable ocean. I like the ambiguity there. Editor: Ambiguity is the perfect word to describe the conflicting messages this painting presents to me. A seemingly idyllic image masks so much systemic inequity. Recognizing the nuanced ways that historical and political forces are interwoven with aesthetic achievements challenges us to broaden our interpretations of artistic creations. Curator: Indeed. Let's consider it an invitation to look at the ocean of history more carefully— its waves of triumph and its hidden currents of sorrow.