Amaryllis c. 1928 - 1930

Editor: So, here we have Henrietta Mary Shore’s “Amaryllis,” a drawing and print from around 1928 to 1930. I’m struck by the contrast between the sharp lines and soft shading – it gives the flower this almost metallic, geometric presence. What do you make of it? Curator: Immediately, the eye is drawn to the interplay of positive and negative space. Observe how the artist has manipulated value, the relative lightness and darkness, to sculpt the form. Note, also, the reduction of natural forms to their essential geometries; Shore isn’t simply depicting a flower, but abstracting its inherent structure. Do you see how the artist uses light to emphasize its underlying geometry? Editor: Yes, the petals almost seem constructed, rather than organic. The shadows really do give them a hard edge. It’s not really how I normally think of floral art. Curator: Precisely. Shore appears less interested in the botanical reality of the Amaryllis, and more focused on the formal qualities achievable through line, tone, and composition. Consider how the stalk rises, a solid, assertive line, contrasting with the curvaceous forms of the blossoms. There’s tension there, isn’t there? Editor: There is. It almost feels like two different styles combined. Is that intentional, do you think, this contrast of geometric and organic? Curator: That is the question the artwork provokes. Perhaps it is to expose the structural underpinnings of what we perceive as natural. Editor: That makes so much sense. I was too focused on the "flower" aspect and not enough on the "form." It’s definitely given me a new way to appreciate how artists use even the simplest subjects to explore really complex ideas about structure and representation. Curator: Indeed. Through her formal language, Shore offers a lens to view the world with fresh eyes.