Dimensions: image: 326 x 240 mm
Copyright: © DACS, 2014 | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Here we have Emil Schumacher's 2/1959, a print from the Tate collection. It's a very textured piece, almost violent in its application. What emotional weight do you think Schumacher was trying to convey here? Curator: The symbols of the two distinct circular masses connected by thin lines read to me like a precarious balance. What feelings does the rough texture evoke in you? Does it speak to a sense of unease, perhaps a cultural memory of disruption? Editor: Yes, a definite unease, maybe instability. Thank you. Curator: And consider the implications of the date, 1959, in the shadow of postwar anxieties. Perhaps this work is a visual echo of those times.
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Describing the development of Composition, Schumacher has said that the first line was purely instinctive, while each subsequent line was determined by the emerging pattern. He regarded making works such as these as a gradual process of discovery, which he compared to understanding a story as it unfolded. Although he acknowledged that recognisable figures could be detected within the surface of his works, Schumacher considered them to be predominantly abstract. Gallery label, August 2004
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