Homer, The Fog Warning (Halibut Fishing)

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Homer, The Fog Warning (Halibut Fishing)발음듣기

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(piano playing) Man: The dory is riding up the great swell and the fisherman is taking that moment to make sure that he can see the ship he's got to reach.발음듣기

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Girl: We're looking at Winslow Homer's The Fog Warning from 1885 and that row boat is tipped all the way forward.발음듣기

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That swell that the boat is riding on is high and he's about to go back down.발음듣기

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He's looking back to the ship that he needs to get back to and as he looks in that direction he sees the fog rolling in.발음듣기

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Any second that ship maybe lost in that fog and he'll be out on the open ocean alone.발음듣기

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Man: This is a painting where we see the protagonist this fisherman assessing his situation and we assess it along with him.발음듣기

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Girl: Except we don't see his face very much like in The Lifeline.발음듣기

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Home doesn't show us the face of the figure.발음듣기

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We can't exactly read their emotion, but wonderfully that leaves it open for us to think about what he's thinking about.발음듣기

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Man: He's had a long and successful day.발음듣기

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There are at least 2 large halibut in the boat with him and he wants to bring them back.발음듣기

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He's off the coast of [Nufinmund] in the open ocean at the outer banks.발음듣기

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This is still an important fishing ground but it is very far out to sea and if he doesn't make it back to that ship he's lost.발음듣기

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Girl: And his boat is his livelihood.발음듣기

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Ne needs to make it safely back to that boat and he needs to make it with the day's catch.발음듣기

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He needs to go back and make his living.발음듣기

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It really is about the ruthlessness of nature and we feel that not only in the strength of the sea but of course in the dark cast of the sky.발음듣기

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What is most powerful is not only the surge of the surf but also the isolation of this figure, it's a big cold ocean.발음듣기

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It's really empty and he has nobody to rely on but himself.발음듣기

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That ship can't see him, his boat is too small.발음듣기

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The ship that we see on the horizon is far away and we have a sense of the extraordinary physical strength it's going to take on the fisherman's part to get back there.발음듣기

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Man: He needs to take these opportunities at the crest of each of those swells to be able to navigate his way back to that ship.발음듣기

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Here he's assessing not only direction, but he's also assessing the time that it will take and the darkness that's going to fall.발음듣기

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Girl: Like Homer's painting of The Lifeline, we have this moment of danger.발음듣기

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This moment where we don't know what's going to happen.발음듣기

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This moment when human beings try to overcome the dangers that nature has put them in.발음듣기

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Like in The Lifeline, Homer is using a variety of brush strokes to give us a sense of the water and the spray of the see with broad whitish blue strokes of paint in the foreground that we can see through to the dark water underneath.발음듣기

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So we really have a sense of the depths of the sea.발음듣기

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Man: That's the foam. You can see, it's such an effective representation of the foam that's left over in the wake of the dory.발음듣기

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You know what really strikes me is there's this beautiful sunset.발음듣기

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If this was a painting that was made on land as just an expression of a beautiful aesthetic experience.발음듣기

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Here, it's a harbinger of darkness and it really has become menacing.발음듣기

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It's so interesting the way that Homer has transformed the way we would normally look at a sunset.발음듣기

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Girl: Or an image of the sea in American painting.발음듣기

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If we think about the way that water is represented in luminous painting for example where it's a beautiful glassy sheen that gives a sense of reflection and contemplativeness.발음듣기

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Here, the sea is a space for drama.발음듣기

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Man: And is activated in every possible way.발음듣기

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This is a painting where the structure of space is absolutely fluid, as fluid as the water is.발음듣기

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Girl: If we think back to the history of American landscape painting where human beings are not so much actors within that space confronting the challenges of nature.발음듣기

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Nature's grandiose and sublime for example in the paintings of Albert Bierstadt of Frederick Church.발음듣기

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Here, it's not the landscape itself that's sublime that contains force and power.발음듣기

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It's the confrontation, it's the relationship between man and nature. (piano playing) 발음듣기

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