Michael Ancher painted The Drowned Fisherman in 1896.
As the Skagen Museum writes, Michael Ancher “combines the classic compositional principles of historic paintings with a fascinating realism,” often painting dramatic scenes of fishermen.
In case you couldn’t tell from the title (and the composition itself), dear reader, this certainly fits that description.
Indeed, the somber group of fishermen in their dark clothes, slightly shiny with waterproofing, provide a stark and deliberate contrast to the drowned man and his family in yellow and blue, illuminated by the clear light through the window.
The ragged clothes and humble interior make the solemnity of the scene all the more striking—even the simple wood table on which the dead man has been laid is reminiscent of the stone Christ is laid upon in many scenes of the Entombment.
Images of an abandoned fishing village slowly being reclaimed by nature on Shengshan Island, which is part of Shengsi 嵊泗列島, an archipelago of nearly 400 islands at the mouth of the Yangtze River. Taken by Shanghai-based amateur photographer Qing Jian during a recent trip.
This seaside ghost town, enveloped by creeping vines and other flora, was abandoned after its residents, mostly fishermen left in the 1990s, as it was more economical for them to move and work on the mainland. The Shengsi Islands are a popular tourist destination and is still an important fishery area that attracts more than 100 000 fishermen every winter.