Catch and Release: A History of Fishing

This exhibit seeks to show how the depiction of fishing over time is a representation of how art has developed and changed throughout the years. From New Kingdom Egypt to ancient Rome, from France to Maine, fishing has been a part of life that has changed throughout time, and along with that, the depiction of fishing in art has changed as well. This is a good example of how art has changed throughout the years because these works shows the same act in very different ways. By using images from Egypt, Japan, France, and the United States, all from different time periods, one can see how the art has changed throughout the years. First being on a wall in a tomb in ancient New Kingdom Egypt, then to Japanese women fishing from a boat, to a very colorful Andre Derain painting of a harbor, all the way to Winslow Homer and Gustave Courbet’s fishing boats one can see the change in how art was done. The transition of culture and how we have developed artistically can be seen even in 5 different paintings about fishing.  It is in the simplicity of the everyday where we can see the beauty of creation. 

Édouard Manet, Fishing, ca. 1862–63, Oil on canvas, 57.10

Édouard Manet uses incredible lighting and color in this work “Fishing”. His use of light causes the viewer to scan over the entire painting when viewing it. His depiction of men fishing out of a boat while a young boy fishes from the bank and a couple looks at something from the opposite bank, is a great example of what fishing was to that culture. The three males in the boat are not well dressed or groomed and it is obvious that they work hard for a living. This is a great representation of how the impact fishing had on a culture had changed since ancient Egypt.

Unknown, Nakht and Family Fishing and Fowling, Tomb of Nakht, ca. 1400–1390 B.C, Tempera on paper, 15.5.19e, l–m

An unknown artist from New Kingdom Egypt painted this on a tomb wall. Fishing must have been an important part of this mans life because he decided to take it with him into death. This is just a part taken from the whole wall and shows that fishing was a large part of this family's life. It was obviously an important part of their culture, so much so as to keep it with him forever. This is an example of very early forms of fishing along with early forms of painting. 

Kitagawa Utamaro, Fishing, Edo period (1615–18680, late 18th century, Polychrome woodblock print; ink and color on paper, JP1095c

Kitagawa Utamaro creates this woodblock print depicting 2 women and a man fishing from a boat with traditional Japanese clothing on. This shows how women were an integral part of the culture and wellbeing of the family. They were heavily involved in gathering on of the most important things for them to survive. Also they were not separated from the men, they worked side by side to collect the necessary things for them to thrive. 

André Derain, Fishing Boats Collioure, 1905, Oil on canvas, 1982.179.29

Andre Derain paints this vibrant image of a fishing port in France in the early 1900’s. From his high vantage point the viewer can see the whole bustling port and all it has to offer. One can easily see his use of space and vantage point as your eye is drawn over the whole piece. Derain uses color to bring the painting to life and give it depth even through the cartoonish feel. This was obviously a coastal fishing town so the importance of fishing is evident in this painting. 

Winslow Homer, Fishing Boats, Key West, 1903, Watercolor and graphite on off-white wove paper, 10.228.1

Winslow Homer uses “Fishing Boats, Key West” to show, again, how fishing is a very important part of everyday life. He uses his watercolor to enhance the perspective of the viewer. It is shown from a lower vantage point than the deck of the boat so the viewer is just above water level. This is just further emphasizing how beautifully simple a boat coming back to harbor after a long day can be. Although faceless, you can see the toil the man in red has endured through his occupation of being on the water everyday. 

Gustave Courbet, The Fishing Boat, 1865, Oil on canvas, 99.11.3

“The Fishing Boat” by Gustave Courbet is a wonderful representation of the work put into fishing. This boat, rigged and filled with equipment, although a little ragged and run down is still facing the water, ready to go. The focus on the boat rather than the surrounding water or shore is the first thing you notice when looking at this painting. His use of depth is another thing you notice when viewing this, it puts the vastness of the ocean in the painting.  

A Celebration of an Ideal Woman: Penelope

The tapestry, Penelope Unraveling Her Work at Night, created by Candace and Dora Wheeler in 1886 depicts the lone figure of Penelope, Odysseus’ faithful, long suffering wife from Homer’s Odyssey, unraveling her famous burial shroud for her father -in -law which she used to keep aggressive suitors at bay while awaiting the return of her missing husband.

It has been offered that Dora chose Penelope as her muse for this tapestry because of Penelope’s outstanding moral virtue and fidelity, traits admired by both Dora and her mother.

This tapestry has been interpreted through the lens of prior knowledge and reading of Homer’s, Odyssey. Due to this weaving being drawn from the strong character of Penelope, it has not been difficult to draw meaning and interpretation. The tapestry depicts a longing, faithful and crafty wife toiling over her loom in hopes her long gone husband returns from his voyage. Homer creating a faithful, witty and strong female character during his time was not common, as most women were viewed as being tempestuous and deceitful. Penelope as a woman stands out for her integrity and dedication, making her an ideal heroine for Dora and her mother Candace to be inspired by.

There is significant symbolism in both Penelope as an ideal woman and the process of weaving itself.  It is my argument that the tapestry, “Penelope Unraveling Her Work at Night”, was not only made in order to appreciate the fantastic literary heroine Penelope was, but also to signify and equate the strength of women and their ability to create in a society where they receive little to no recognition.

For hundreds of years, Penelope has been recreated at her loom, portraying the ideal woman, a woman of integrity, strength and virtue. In a world where women have been often portrayed as solely sexual objects, the recreations of a virtuous women such as Penelope is worth admiration and celebration.

Dora Wheeler, Penelope Unraveling Her Work at Night, 1886,

Silk embroidered with silk thread, 2002.230

The tapestry depicts the lone figure of Penelope, Odysseus’ faithful, long suffering wife from Homer’s Odyssey, unraveling her famous burial shroud for her father -in -law which she used to keep aggressive suitors at bay while awaiting the return of her missing husband. Wheeler uses various shades of warm golden and brown threads giving the tapestry an ethereal glowing quality. The colors warm in tone and rich in hue create a familiarity with the subject of the tapestry. Since Wheeler has depicted Penelope with her arms outstretched, creating a slightly asymmetrical balance, the viewer is drawn to a dynamic piece of art in which the significant action of Penelope unraveling her tapestry is highlighted. The action of Penelope unraveling her creation is the focal point and most critical aspect of the tapestry

Angelica Kauffmann, Penelope At Her Loom, 1764, Oil on Canvas, Brighton Gallery

Kauffmann's representation of Penelope affirms the desolation felt by Penelope day after day at her loom. To the left of Penelope, a dog is depicted as feeling just as gloomy and forsaken as its owner. The dog symbolizes the fervent loyalty of Penelope to her husband. Her despair is evident in her posture and her arched brows as well as through the weariness in her eyes. Kauffman depicts her as the ideal embodiment of devotion and patience even under such distress. 

Dante Gabriel Rossetti, Penelope, 1869, Drawing Chalk, Private Collection

The golden color scheme of Rossetti's depiction of Penelope is incredibly similar to the color scheme of the tapestry created by Dora Wheeler. The thread pieces of the unraveled tapestry in her hand reveal her at work while her soft posture and contemplative gaze reveal her longing for her husband. It is evident when looking at Rossetti's portrayal of Penelope that her desire for her husband to return is great and that the pressure of maintaining her firm stance in denying any other man is an incredible burden on her soft shoulders.

John Roddam Spencer Stanhope, Penelope, 1849

Stanhope's portrait of Penelope allows the viewer insight into the heartache and misery Penelope experiences during her husband's long absence. This gives more weight and importance to the steadfastness of Penelope's character. Her despair is evident through her body posture and the anguish written across her face. There appears to be a woman in her tapestry entangled by something, or someone, perhaps symbolic of how she feels surrounded by aggressive suitors. 

 Joseph Wright, Penelope Unraveling her Web, 1783, Oil on Canvas, Getty Museum, California

 The potter Josiah Wedgwood commissioned this painting from Joseph Wright as a compliment to female fidelity and industry. Wright presents Penelope unraveling her tapestry at night. In the foreground of the painting, there is a statue of  Odysseus, invoking his presence in her life even in his physical absence. This reveals the artists interpretation that Odysseus was constantly on Penelope's mind, pushing her to remain loyal to her husband. The dog sitting to her right symbolizes her loyalty as well. 

John William WaterHouse, Penelope and the Suitors, 1912, Oil on Canvas, Aberdeen Art Gallery, Scotland                                                                                    

Waterhouse's painting of Penelope gives further visual and imaginative insight into Penelope's plight. This painting reveals the longing pressure put onto Penelope by her suitors who are clamoring into her chamber attempting to persuade her into marriage. Penelope's resolution in refusing to give in is depicted through her intense concentration on her loom even when being pressed upon by desperate suitors. The dutiful Penelope cannot be swayed even by flowers, adoring gazes and proclamations of love. 

The Discomfort of Portraiture

The Discomfort of Portraiture

Édouard Manet was an artist ahead of his time. Working in mid-19^th century France, he was caught in between two strong desires; one to rebel against the institutionalization of the Salon, like his teacher Gustave Courbet, while at the same time he also craved the approval of the very institution that he wanted to move beyond. Trapped in this duality, Manet managed to create many unique and striking portraits that leave the viewer with a sense of discomfort. More often than not the viewer is given a portrait and left unable to decide what to do with it. When compared to some of the works of his painting idol, Diego Velázquez, Manet’s pieces have remarkable similarities. The uncomfortable gazes, the costumed figures, and this air of discomfort in the faces of the subjects. When viewing some of Manet’s pieces, the viewer does not necessarily sense the discomfort upon first glance, but upon further investigation and study of each painting the awkwardness and the anxiety become more and more evident. The juxtaposition of each portrait makes each uniquely uncomfortable. He seems to draw from his teacher, Gustave Courbet, as well in this theme of disquiet. What makes Boy with a Sword awkward is different from what makes Young Woman in 1866 awkward. Why is this trope of discomfort worthwhile for artists to make time and again?

Boy with a Sword, Édouard Manet, 1861, Oil on canvas, 89.21.2

Manet’s Boy with a Sword is an intriguing portrait. On first glance, it is just a young boy holding a sword but with more inspection the viewer gets a sense of how uncomfortable the boy is. The size of the sword and the boy’s pose make it reasonably clear that the boy is uncomfortable. Is he giving the sword to the viewer? Or rather is he pulling it away from the viewer? What exactly is it that the boy wants from the viewer? He has every sign of youth but no semblance of youthful joy or vigor. 

María Teresa, Infanta of Spain, Diego Velázquez, 1651-54, Oil on canvas, 49.7.43

Velázquez gives us a portrait of the princess of Spain two hundred years before Manet began painting. Nevertheless, the viewer can easily see the similarity between the two painters’ styles. The young princess is equally youthful as Manet’s young boy but in the same fashion, seems to lack any emotion let alone any joy. She is just staring at the viewer, with her large wig full of butterfly ribbons. Rosy cheeks and butterflies do little to ease the disquiet in the painting.

Woman in a Riding Habit (L’Amazone), Gustave Courbet, 1856, Oil on canvas, 29.100.59

Gustave Courbet’s Woman in a Riding Habit is almost dreary. The bluish-gray sky, the almost completely black outfit of the woman, and dreariest of all: the woman’s facial expression. Her face is down, but her eyes point to the viewer as if to implicate the viewer in whatever it is that is causing her such clear discomfort. Either going to or coming from a leisure activity (horseback riding) she seems to be very ill at ease.

Portrait of a Buffoon with a Dog, Diego Velázquez, 1645, Oil on canvas, Museo Nacional del Prado, Spain

Here Velázquez paints a quirky portrait of a dwarf with a large dog. The juxtaposition between the size of the man and the dog is one thing that makes this mildly off-putting. The fine clothes, the sword, and the fancy hat also strike as odd because of the title: buffoon. The artist calls this man a buffoon but he does not seem to resemble a fool. The man does appear upset, or at least irritated. He’s certainly not amused, or happy and this leaves the viewer uncomfortable.

Woman with a Parrot, Gustave Courbet, 1866, Oil on canvas, 29.100.57

Courbet’s Woman with a Parrot is an interesting painting of a reclining female nude. With a less stable composition, the viewer’s eye wanders more easily than with previous pieces. The woman is lying down on a bed or couch and she has brightly colored parrot perched lightly on her left hand. Again, the viewer is left at a slight loss. What is the viewer meant to understand, or to do with this painting? It is not as obviously awkward as the others, except maybe since the female is nude and not a Greek or Roman goddess. Close up, the woman is smiling with her teeth, something that does not translate to painting well. Her smile might be the most discomforting thing in the painting. 

Young Woman in 1866, Édouard Manet, 1866, Oil on canvas, 89.21.3

Perhaps the most puzzling or strange of them all, Manet’s Young Woman in 1866 displays a catatonic young woman standing in a silk gown. This portrait was seen as a reply to Courbet’s Woman with a Parrot. At first, one thinks she is looking at the viewer, but she’s really not. She’s almost cross-eyed and her facial expression is one of disinterest. She’s smelling a flower and toying with a monocle and looks completely disinterested in anything going on around her. Oddest of all, standing next to her on a bird stand is a gray parrot and a partially eaten orange. She’s also floating, which further confuses the viewer as to what is going on. She seems completely bored and it makes the viewer uncomfortable with the whole composition.

Don't Blink

Our vision is one of the most common aspects of life. Although not everyone in the world can see, most take for granted the sight that we have. This exhibit may not be the most exciting or most colorful, but you will not see any other one like it. Using stroboscopic techniques in photography, the quick flashes of light allow the human eye to fathom an image that occurs too fast for the naked eye. Beginning a revolution in high speed photography, Harold E. Edgerton takes every day activities and turns them on its side. In this exhibit you will first look at the amazing forces behind objects moving at top speed like the force behind a gold club colliding with a ball or the shock waves created by a speeding bullet. This exhibit also shows the interest of Dr. Edgerton as he looked at two particular fast moments: sports and bullets. Do not blink as you enter in. Be amazed at what your eyes do not see. Be amazed at what they can see. Whether it is a common occurrence like kicking a football, pouring milk into more milk, or hitting a golf ball, our eyes can only see what our naked eyes allow us to see. Harold E. Edgerton stops time. His use of the stroboscopic photography and his high speed camera gives the viewers a picture into the frozen world of stopped time.

[Bullet: Shock Wave Revealed], Harold Edgerton, 1957

Gelatin Silver Print, 1991.1322

            This particular photograph by Edgerton is fascinating, mostly because it is an uncommon photograph or Edgerton. He would usually fire the bullet through everyday objects. The shock waves you see in the photograph are audible. The bullet is traveling faster than the speed of sound creating a picture of what that looks like. This bullet is traveling faster than you hear people talking around you or the sound of the air conditioner blowing.  Edgerton just displays how scientifically amazing that phenomenon is.

[Milk Drop Falling Into Reservoir of Milk (7/9], Harold Edgerton, 1935,

Gelatin Silver Print, 1997.62.34

            Number seven in a sequence of nine, this photograph takes a common occurrence and shows the viewer what cannot be seen by the naked eye. This particular photograph shows the suspended milk drop as the milk begins to rest in the reservoir. Notice the droplet at the top. Because it is no being affected by any outside force, it is a perfect sphere which shows the detail and perfection of our world and materials.

[Pellets Fired From Shotgun Still Partially Within Casing], Harold Edgerton, 1964

Gelatin Silver Print, 1997.62.12

            Like the Bullet: Shock Wave Revealed, this photograph is not of any object coming in contact with another. This creatively displays what the firing of a shotgun results in. And with the use of the stroboscopic photography and the high speed camera, Edgerton is able to capture the defining moment of the firing of the shotgun: the release of the pellets. This photograph does not show the shock waves of the bullet, but the bust of the casing and the release of the pellet show the power and force behind the moving object.

[Bullet Cutting Through Playing Card], Harold Edgerton, 1960

Gelatin Silver Print, 1997.62.45

            Keeping his experiments with bullets, Edgerton adds an object to his firing. The king of hearts playing card is held in the path of the bullet. The beauty of this photograph is the cut of the card. The bullet is already past the card, but the card looks as if it has not moved. Edgerton cut many cards in his experiments, missing quite a few, and you can wonder why. When he did make contact with the card, the slicing of the object is astonishing.

[Detail of Golf Club Hitting Ball], Harold Edgerton, 1935

Gelatin Silver Print, 1997.62.27

            One of the most fascinating photographs taken by Edgerton, this one of the golf ball shows the force of human interaction and movement. Everyone knows that golf balls are solid. So when Edgerton decided to study the hitting of the golf ball, the common conceptions are questioned. As the club hits the golf ball, the viewer sees the flattening of the ball and is astounded by the power and the deformation of the golf ball as it begins its ascent into the air and down the fairway.

Wes Fesler Kicking a Football, Harold Edgerton, 1935

Gelatin Silver Print, 1987.1100.89

            Edgerton enjoyed working with athletes, and Wes Fesler was the perfect candidate for the job. An All-American football player at the time, Wes Fesler was an athlete that embodied power and finesse. As Felser attempts to kick the football, the stroboscopic camera captures two distinct features unseen to the naked eye of the viewer. The apparent deflation of the football, just like the golf ball, expressed the power behind the action. And the suspension of the dirt above the football illustrates the speed being portrayed by the action caught with a photograph.

The Human Experience: A Compelling Look at Nature and Landscape

The late 18th and early 19th century was defined by a new movement in art and literature that swept across Europe and into North America. The artists in this movement were intrigued by the power that they saw in nature, and they wanted to know the implications that nature had for the human spirit. This movement is called Romanticism. And though artists like Caspar David Friedrich, Thomas Cole, and Francisco Goya thrived on the idea of nature being essential to the human experience, such ideas were in existence before Romanticism; and they have lasted long since.

Works in this genre are often defined by warm, earthy colors and balanced compositions that emphasize natural aspects of the landscape over ones that are constructed by man. Because of this, it is appropriate to say that there is a certain level of divine spirituality found in nature in these works, an idea that is furthered by the romantic poets. The centerpiece of this exhibit, Camille Corot’s The Banks of the Seine at Conflans, exemplifies all of these traits. The human figures take up little space in the composition and are obscured by the brush and the shadows from the trees; they very much exist as a product of nature. These figures are also dependent on nature, as they can be seen cutting wood and fishing in the river. The other works in this exhibit have been carefully chosen for the way in which they, like The Banks of the Seine at Conflans, show the interaction of man and nature.

This exhibition should act as a visual journey of the relationship between man and nature over time. Despite changes in culture, time, and medium, all of these pieces succeed in making a statement on the effects of nature on mankind.

Camille Corot, The Banks of the Seine at Conflans, 1865-70, oil on canvas, 21.70.4

In this painting, Corot depicts a tranquil scene on the banks of the Seine river, with four figures interacting with nature under a canopy of trees. Corot’s use of composition, coloring, and painterly style is effective in portraying the importance of the human spirit and the romantic ideas of nature. Corot also engages with the viewer by including a dirt path that divides the center of the piece. This allows us to become a part of the scene, and asks us to question our own relationship with the natural world.

Claude Monet, The Green Wave, 1866-67, oil on canvas, 29.100.111

Monet achieves a similar theme in his painting The Green Wave by portraying the will of man as being completely dependent on the will of nature. The rolling composition of the waves affects the sail boats, forcing them to travel in an unpredictable way. The very nature of a sail boat, relying on the wind to be able to move, implies that nature dictates the actions of man. Monet also uses color and light to emphasize the power of the waves, dark blues where the water is deepest, and light blues/white where the wave is crashing.

Frans Post, A Brazilian Landscape, 1650, oil on wood, 1981.318

This painting by Frans Post, created before the romantic era, depicts a group of Brazilian laborers resting among a South American landscape. Post was a Dutch painter who was inspired to paint this piece after travelling to Brazil during the years of 1637-1644. This is evident in the composition of the painting: a majority of the painting is dedicated to the sky, which is an important part of the Dutch tradition. Post was also diligent in accurately portraying native flora and fauna, which was very much a result of a fascination with the exotic during his time. Because of this, the native people are seen as another part of this mystical exotic landscape; existing within nature instead of interacting with it.

John Frederick Kensett, Hudson River Scene, 1857, oil on canvas, 07.162

The American contemporaries of the European romantics were largely concentrated in the Hudson River School of Art, who were intrigued by the new found beauty of the new world. Kensett, who was a part of this group, displays a similar idea of man’s relationship with nature as is the case with the other pieces in this exhibition. However, he achieves this through the adaptation of a new environment and a new culture. Figures can be seen sitting and reading at the crest of a grandiose forest, sail boats can be seen navigating the river, mountainside cabins are visible with smoke billowing from the chimneys, and a train can barely be seen travelling along the opposite side of the valley. These are all dominant icons of American life and they are all encompassed by a majestic wilderness of evergreen trees and looming mountains. Kensett succeeds in saying that perhaps man is more in tune with nature in America than he ever has been before.

Caspar David Friedrich, Wanderer Above the Sea of Fog, 1818, oil on canvas, displayed at Kunsthalle Hamburg

Wanderer Above the Sea of Fog embodies everything that the romantics believe in. Thought to be a self-portrait of Friedrich himself, the viewer is invited to see the world through the eyes of the figure; over looking an ethereal landscape of rocks and mountains. This painting captures the idea of the ‘sublime’; the idea that man gets a glimpse of his own potential through the awe-inspiring grandeur found in the natural world. The relationship between man and nature is apparent in this piece, one can’t exist without the other.

Jeff Wall, The Storyteller, 1986, Silver dye bleach transparency in lightbox, 2006.91

This piece by Jeff Wall may appear different than the other pieces in this exhibition, but it features many of the same characteristics that we’ve already examined. We see an urban landscape with an overpass on the right and an overgrown embankment dominating the majority of the composition to the left. The figures seen in this photograph have been staged by Wall and make reference to previous works in art history; most notably the trio in the bottom left, who seem to be mimicking Manet’s The Luncheon on the Grass. By doing this, Wall attempts to suggest that the figures in this photograph are very much the product of a modern existence, and yet, they are still affected by their natural surroundings.