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M U N C H
The Fisherman, 1902 This picture, approximately coinciding in date with the Tulla Larsen debacle, marks the beginning of new directions in Munch's art. The man presents himself as a static, archetypal image; frontal, and placed against a continuous green background that abstracts him from any realistic environment. He stands firmly - on nothing. Only the shadow he casts contradicts this abstraction, but since it is confined within the angle of his legs it is wholly subordinate to him, not a menacing apparition in exterior space. The impression is of an aggressive masculinity, the opposite of the many representations of male weakness and female dominance Munch had produced in the past. From now on this new masculinity was to become an abiding element in his art. One need only compare Fertility with Adam and Eve to see the change that has taken place. Closely associated with the assertion of masculinity is the assertion of the working class. Munch's left-wing views, early influenced by Jaeger and Krohg, had remained dormant for many years while he was preoccupied with psychological probing. Now they begin to reappear in increasingly numerous depictions of working-class men (seldom women). This fisherman is a proletarian. He stands at ease but ready for physical action, his head and shoulders thrust forward, his legs wide apart with the weight of the body divided evenly between them. Very different is the traditional upper-class relaxed posture, of classical origin, in which most of the weight is placed on one leg while the other serves chiefly to maintain balance; a pose that confers grace and ease but hinders physical activity. Another feature to emerge here is Munch's liking for Gothic architecture, which he did not advocate for modern revival but associated with heavenly aspiration, tree-tops in woods, and the lives of simple people. The fisherman's silhouette is shaped like a tall Gothic arch, seconded by his dark shadow and the gap between his thighs.
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