Wall Sconce 1935 - 1942

Curator: At first glance, this piece feels incredibly stark, almost skeletal in its rendering. Editor: Indeed. Here we have Gerald Bernhardt’s “Wall Sconce,” a pencil and paper drawing dating from sometime between 1935 and 1942. It seems more of a technical drawing than a finished artistic statement. Curator: Yes, there's something about its presentation that lends itself to deconstruction, literally offering us up the separate parts on the margins. Even the rendering of the sconce itself feels less about capturing light and shadow and more about describing its shape, its potential as an object. But the overall effect of vertical lines converging toward a contained base feels rather iconic, perhaps unconsciously referencing classical columns. Editor: The vertical emphasis is undeniable, channeling the light upwards while firmly rooted at its base. Semiotically, that scalloped head could even signify a stylized sun or halo, no? This would connect the object to something divine or at least elevate its perceived status, linking the functional sconce with spiritual iconography. Curator: I think you’re spot on. The geometry isn't accidental, despite the medium feeling a bit like a diagram. A sconce by definition serves to elevate light – so in a pre-electrification age, placing candlelight higher would have carried much symbolism. The act of illumination has historically been tied to wisdom and spiritual insight, a theme deeply rooted in many cultures. I like how Bernhardt gestures toward function while alluding to broader themes. Editor: And on a formal level, notice the deliberate use of line—precise, unwavering—suggesting a controlled application. The lack of heavy shading directs the gaze to the outline and form of the piece itself. Bernhardt is deliberately stripping away anything extra, getting us to consider the simple geometries. Curator: Well, this examination makes me think about the role light plays, both functionally and metaphorically, within domestic spaces and communal rituals. Editor: Precisely. Focusing on the structural components underscores the intent: clarity over atmosphere, objective form over subjective feeling.