Fisherman among rocks

Niko Pirosmani (Pirosmanashvili) • Painting, 1906, 112×92 cm
About the artwork
Art form: Painting
Subject and objects: Landscape, Portrait
Technique: Oil
Materials: Oilcloth
Date of creation: 1906
Size: 112×92 cm
Artwork in selections: 17 selections

Description of the artwork «Fisherman among rocks»

"Fisherman among the rocks" – a striking example of the portraits. on a landscape background. Traditionally, we see a clear and static composition. Neither spatial nor temporal perspective does not exist here. There's a moment which was captured in such a way that the idea of "before" and "after" simply does not arise.

In most of the artist's works are quite scarce colours – for the simple reason that in view of the pervasive poverty that accompanied him throughout his life, Pirosmani, could not afford a varied palette of colors. In this case, used the traditional Pirosmani colors – blue, olive, unobtrusive yellow, white, black.

Pirosmani often criticized for the awkward size of objects on his canvases. "Fisherman among the rocks" is no exception. People think giant, as well as fish in half rock. The probability that this consequence of his "immediate" approach. Niko Pirosmani was set to work as soon as receiving the order. It was not long thought and second plans even in the process of painting: he always wrote "now", moving from object to object. In the end, the painting depicts the cliffs separately, separately – the fisherman, here's his hat, but his fish. The individual components, not merging, wonderfully grouped together, although smooth transitions devoid of the image – whether it be colors or shapes.

The picture monumental and impersonal. We don't think about what happens to the fisherman outside the depicted moment, how many fish he catches, whether he has a family to feed. Who on this occasion accuses Pirosmani in the absence of psychologism, and someone sees in a simple story, the very breath of eternity, not preoccupied with the questions "what's behind the scenes". For eternity all in the frame and nowhere to go – not because it is useless, because everything is already here.

Author: Alain Esaulova