Fish Sandwich

During a remarkably productive sojourn in Trouville, spanning from September to November 1865, Courbet crafted this masterpiece. In a letter to his father, the artist proudly proclaimed his feat of creating "thirty-five paintings" in an impressively short span, leaving everyone astonished. While visiting Trouville with James McNeill Whistler, Courbet's choice of subject aligned with the styles of Eugène Isabey, Johan Barthold Jongkind, and Eugène Boudin. However, unlike many contemporary canvases, this painting places the fishing boat, with its fully-rigged structure and brimming equipment, at the very heart of the composition rather than relegating it to a secondary position. It is noteworthy that in 1899, this particular work gained the distinction of being the first Courbet piece to find its way into the Museum's esteemed collection.

This artful depiction of a fish market marks a groundbreaking shift in portraying everyday life, pioneered by Joachim Beuckelaer and his mentor and uncle, Pieter Aertsen, who resided and practiced their craft in Antwerp. Created amidst a turbulent period of religious conflicts, which disrupted the art market and encouraged a transition from solely religious subjects to more worldly themes, this painting celebrates the thriving fish industry by showcasing its abundant offerings from the sea. Beneath the surface, these images might carry a moral message, cautioning against the indulgence in excessive food and sensual pleasures

Within this artwork, Sorgh skillfully merges the realm of still life with a domestic setting. In the foreground, two maids diligently tend to the task of cleaning fish and peeling vegetables, enveloped by the luster of brass and earthenware. However, upon closer inspection, hidden details emerge, adding intrigue to the scene. A playful cat, an open birdcage, and a subtle depiction of a couple engaged in affectionate gestures linger in the shadows, evoking a sense of mischief. Even the seemingly innocuous earthenware pots, to the discerning eyes of seventeenth-century viewers, would have conveyed an underlying erotic connotation, hinting at the nuanced symbolism present in the artwork.

Zhou Dongqing, a close associate of Wen Tianxiang (1236–1283), the renowned Song loyalist from Jiangsi Province, found his artistic inspiration in a passage from the ancient Daoist classic Zhuangzi (circa fourth century B.C.). The passage depicts Zhuangzi observing the joyful freedom of minnows darting about in a river, prompting a philosophical exchange with his companion, Huizi.

Intrigued by this profound encounter, Zhou Dongqing translated his contemplation onto paper, writing at the end of the painting:

"Without being fish ourselves, how can we truly fathom their happiness? Yet, through our art, we can express the depth of our emotions. In exploring the subtleties of the ordinary, We dare to capture the ineffable."

Choosing paper over silk as his canvas, Zhou deliberately employs muted colors and delicate patterns of pale inkwash, evoking a sense of detachment and introspection, a sentiment further emphasized by his inscription. Hailing from Linjiang, in close proximity to the Daoist hub at Mount Longhu (Dragon Tiger Mountain), Zhou's art likely bears the strong influence of Daoist philosophies.

Among the series, this artwork stands out as one of the most cohesive and aesthetically pleasing designs due to its clever repetition and harmonious alignment of shapes and colors in both the foreground and background. Notably, a captivating triangular formation emerges, composed of the fishing lines, the fisherman's gracefully arched back, and the jutting promontory from which he casts his line, all mirroring the iconic shape of Mount Fuji on the distant horizon.

The visual interplay between the human figure in the foreground and the encompassing natural landscape in the background is intensified by Hokusai's deft use of deep Berlin blue hues, adorning the fisherman's jacket, the pinnacle of the shoreline in the immediate foreground, and the majestic summit of Mount Fuji. Through this strategic coloration, a seamless connection between man and nature is achieved, imparting a profound sense of harmony.

Initially, the print was executed using the indigo technique, leaving a lasting impression with its striking simplicity. However, in subsequent impressions, Hokusai expanded the color palette, adding depth and dimension to the already captivating composition.

At the 1877 Impressionist exhibition, the discerning critic Georges Rivière was deeply impressed by this painting, describing it as "strikingly majestic and extraordinarily calm." He suggested that the scene seemed to unfold from Cézanne's recollections, as if he were turning the pages of his own life.

The artistry of this composition draws upon influences from paintings by Manet and Monet during the 1860s, which depicted leisurely moments in the great outdoors, with a fusion of fishermen and elegantly attired strollers gracing a sunlit shore. Cézanne's work echoes the spirit of these earlier artists while also paying homage to the pastoral masterpieces of Giorgione, Titian, and Veronese, whom he admired. This amalgamation of inspirations results in a rich and harmonious visual tapestry that captivates the viewer with its serene allure.

In the summer of 1879, Krohg produced this captivating portrayal of a working couple amidst the artistically influential Skagen village, situated on the coast of Jutland in Denmark. The fisherman Niels Christian Gaihede (1816–1890) and his wife, Ane Gaihede (1812–1904), served as his models for this remarkable piece. In contrast to the prevailing sentimentality often associated with peasant subjects in Nordic art, Krohg chose to express a resolute objectivity, which struck contemporaries as somewhat unconventional and even faulted when the artwork was exhibited in Oslo shortly after its completion.

Responding to the critiques, Krohg later painted a more restrained version of the same subject, which can be found in the National Museum, Oslo. His dedication to portraying the working class and his commitment to an unadorned and objective representation left a lasting impact, reflecting the artist's distinctive artistic approach.

In the bow of a boat, a man and a woman are engaged in fishing, accompanied by another couple in the stern. Standing at the center is a younger man, beside whom a boy has taken a tumble, while two dogs also share the boat. In the foreground, a duck takes flight, while on the shore behind them, two men play musical instruments, a trumpet and French horn. On the left side, an inn comes into view, featuring figures seated in a lookout constructed partway up a tree, with a grand dome visible in the distance.