Max Liebermann (1847 – 1935) – Women Plucking Geese Alte und Neue Nationalgalerie (Berlin)

The canvas presents a scene within what appears to be a rustic barn or shed, illuminated by a combination of natural light filtering through cracks in the walls and a hanging lantern. A group of individuals, predominantly women and children, are engaged in the laborious task of plucking geese. The composition is densely populated; figures cluster together, creating a sense of communal effort but also hinting at cramped conditions and limited personal space.
The artist has employed a muted palette dominated by earthy tones – browns, grays, and ochres – which contribute to the overall atmosphere of austerity and toil. Light falls unevenly across the scene, highlighting certain faces and figures while leaving others shrouded in shadow. This selective illumination draws attention to the expressions of those closest to the viewer: their concentration is palpable, etched into their features with a weariness that speaks volumes about the repetitive nature of their work.
The geese themselves are rendered with a degree of realism, their white plumage contrasting sharply against the darker clothing and surroundings. Feathers litter the floor, adding to the sense of accumulated labor and the tangible messiness of the process. The arrangement of figures is not rigidly formal; instead, it conveys a feeling of spontaneous activity, as if the artist captured a moment in time within this ongoing task.
Beyond the literal depiction of a rural occupation, the painting seems to explore themes of poverty, resilience, and the dignity of labor. The womens clothing suggests a lower socioeconomic status, while their focused efforts imply a necessity for survival. There is an absence of sentimentality; the scene is presented with a straightforwardness that avoids romanticizing hardship. Instead, it offers a glimpse into the everyday lives of those who toiled in rural settings, emphasizing the quiet strength and perseverance required to sustain themselves through demanding work. The presence of children participating in this labor further underscores the economic realities faced by these families.
The composition’s depth is created by layering figures towards the back of the barn, suggesting a larger community involved in similar activities. This reinforces the idea that this scene represents not just an isolated event but a widespread practice within a particular social context.