Figurkomposition, tidligt udkast til mosaik i Frederiksberg Svømmehal 1932 - 1935

Editor: Here we have Vilhelm Lundstrom's "Figurkomposition, tidligt udkast til mosaik i Frederiksberg Svømmehal," created between 1932 and 1935, using pencil on paper. The figures seem timeless, almost statuesque, and yet the lines are so delicate. How do you approach a piece like this? Curator: Primarily, through examining its formal elements. Observe the stark contrast created by the artist's deliberate use of line. How does the economy of line contribute to the monumental feel of the figures, even within the confines of a preliminary sketch? Consider also the layering of planes. What is the effect of the foreground on the overall composition? Editor: The planes give a sense of depth, almost like a stage. And the starkness, now that you mention it, makes it feel very classical, even severe. Curator: Precisely. Consider the structural integrity of each figure. The strategic shading and highlighting imply volume. Are the figures idealized forms, or does Lundstrom capture the nuance of the human form? Does the lack of intricate details contribute to or detract from the intended architectural function? Editor: I see what you mean. The figures are simplified, almost geometric in their forms. Is it the geometric figures which prepare it to be a mosaic? Curator: It is quite possible. Form dictates function here. And what about the dynamism between them? Does this relationship generate its own type of visual language? Is the communication legible, or is it more important for the interplay between forms, the way that the shapes relate to one another in space? Editor: That's a helpful point. Thinking about the formal qualities helps me look beyond any narrative I was trying to create for myself and instead focus on the elements that create the overall impact of the image. Curator: Exactly. The intrinsic visual dialogue that plays on the surface can be just as, if not more, enlightening.