Bridge in the City 1955

Editor: This is Clare Romano's "Bridge in the City," a 1955 etching. The strong contrasts of light and shadow make it feel dramatic and almost unsettling. What do you see when you look at the composition of this print? Curator: Formally, I observe the stark contrast between the black and white areas creating a strong visual hierarchy. The artist skillfully utilizes negative space to define shapes, particularly within the bridge's structure and the depiction of water. Editor: So the focus is not so much on the realistic representation of the city, but on the interplay of shapes and textures? Curator: Precisely. Romano employs abstraction, reducing the cityscape to essential geometric forms. Note the recurring diagonal lines, which generate a dynamic sense of movement throughout the composition. The sun or moon at the top also takes the shape of geometric figure. How does the materiality of the etching process contribute to the overall effect? Editor: The roughness of the lines and the grainy texture seem to amplify the raw energy. I can almost feel the grit of the city. Curator: Indeed. The intentional use of these elements enriches the tactile quality of the work, highlighting the intrinsic properties of the medium itself. We see an unrefined image, giving the artwork the same energy you may feel on a boat, cruising under a dark bridge. Editor: I’m beginning to see the city less as a place, and more as a set of contrasting shapes and tones. Curator: Ultimately, this print isn't just a picture of a bridge; it is an exploration of form and texture through the art of etching. Editor: Thanks! I can better appreciate the techniques used in this artwork.