Contemporânea magazine, No. 5, Desenho 1922

Mily Possoz made this ink drawing called Desenho in 1922, and what gets me is the relationship between the line and the shading. Like, is it line, or is it tone? Is that even a relevant question? Look at the way the hatching defines the curves of the chair, but then also creates these deep shadows that suggest a real, weighty object. I'm fascinated by the way she uses line to both describe form and create atmosphere. It’s like she’s not just drawing what she sees, but also what she feels about what she sees. Possoz reminds me a little of Matisse, especially his drawings. Both have this incredible ability to suggest form with the fewest possible lines. But where Matisse feels effortless, Possoz has this slight awkwardness that I find so endearing. You know, art doesn't always have to be perfect to be beautiful. Sometimes, the imperfections are what make it so special.