Boemi, chef Avungur, Niangara, Haut Ouelle 1925

Alexandre Jacovleff made this drawing of Boemi, chef Avungur, Niangara, Haut Ouelle, with charcoal, and maybe some pastel or chalk for those lighter values. What strikes me here is the surface and the way it catches the light. You can see the physical marks on the page, the way Jacovleff built up the shadows on Boemi's face and arms with tight hatching. It's not about hiding the process, but about making it visible. Look at the lower part of the drawing, it seems unfinished, like he stopped working on it. It creates a tension, a kind of open space that contrasts with the defined marks of Boemi's face and upper body. Jacovleff reminds me of artists like Matisse, who were interested in different cultures. But unlike Matisse, Jacovleff's approach feels more academic and documentary. I always think of art as a conversation, not a monologue, so it's interesting to think about the many dialogues happening within this single sheet of paper.