Beach Umbrella 

Editor: This is Edward Henry Potthast’s "Beach Umbrella", an oil painting rendering a summer day at the shore. I am immediately drawn to the thick brushstrokes and the overall hazy atmosphere it evokes. What elements stand out to you as a formalist? Curator: Immediately, it's the interplay of light and color that commands attention. Notice how Potthast employs broken brushstrokes – a hallmark of Impressionism – to capture the shimmering effect of sunlight on the sand and water. How does the arrangement of figures and the umbrella create a sense of depth and spatial relationships? Editor: Well, the figures seem loosely arranged, and the titular umbrella acts almost as a framing device, pushing my focus towards the horizon. Curator: Precisely. Consider, too, the materiality of the paint itself. The impasto surface, built up layer upon layer, adds a tactile dimension to the viewing experience. How does this surface texture contribute to the overall sense of immediacy and spontaneity? Is Potthast inviting the viewer to appreciate not just the image, but the physical act of painting itself? Editor: That’s interesting; I hadn't thought about the thickness of the paint so deliberately. So, beyond the sunny scene, is the painting also drawing attention to its own creation? Curator: It is undeniable. The artist does not only capture a moment. He manipulates form and colour to present the very act of observation. It encourages one to appreciate painting, first and foremost, as an aesthetic artifact of colour, shape, and material. Editor: It makes me see the scene as a composition, not just a slice of life. I can see how focusing on brushstrokes and light adds a fresh appreciation to this piece. Curator: Indeed. The arrangement is so complex that one could endlessly evaluate this painting, without running out of ways to investigate it.