 During the 1880's Moran relocated his studio to East Hampton, Long Island, closely situated to the beach. The move renewed his interest in marine painting, and he eagerly began painting the sea, it's temperaments and disasters of shipwrecks that occurred along the eastern shore of Long Island. It was during this same time that Moran further explored other themes for his paintings, and soon, his pastoral depictions of Long Island, were as much in demand as his western landscapes. Thomas delved into scenes of urban and industrial imagery, most notably in Lower Manhattan from Communipaw. This painting viewed the manhattan skyline from a sugar refinery located across the Hudson River, in New Jersey. Moran displayed his ability to effectively capture the reflection of the city upon the sunlit water.
In 1882, Moran returned to Bolton, England, with his family for an exhibition of his works. Included in the exhibition were over a hundred watercolors, 22 oil paintings, 25 illustrations from Longfellow's Hiawatha, the complete set of Prang chromolithographs of Yellowstone, and a series of etchings and proof engravings. The show was a triumphant success, and Thomas sold nearly all of the works displayed, before he returned home.
 Remaining an enthusiastic traveler, Moran left for Cuba and Mexico shortly after his return from England. Moran explored the countries, on his endless search for new subject matter, and returned with a large number of sketches. Of particular interest to him, was the Trojes Mine in central Mexico, which he recreated in several extraordinary paintings.
During 1886, Thomas Moran traveled to Venice, Italy, visiting the city that he had seen depicted in Turner's paintings. Moran traveled to sites, developing watercolor sketches of them, that he would return home with, to produce studio paintings. His previous technique of concentrating on a central object, and freely building foreground elements, again came into play.  The Fisherman's Wedding Party displayed this method of painting, as notable venetian buildings are seen across the center of the painting, and gondolas and boats are placed in the foreground with costumed figures. These paintings became extremely popular in the United States during the end of the 1800's, due to the romantic and poetic imagery they projected. America was bustling with activity as industry and advancements in technology was thrusting the country forward at a frightening rate of speed. Moran's paintings offered viewers the chance to stop back and take a breath, as they slipped back to a slower, easier time.
Thomas Moran, continued...
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