Ebene vor dem Gebirge, rechts ein See, auf dem Weg verschiedene Figuren 

Editor: Here we have “Ebene vor dem Gebirge, rechts ein See, auf dem Weg verschiedene Figuren”, a drawing by Jacob Esselens, probably from the Dutch Golden Age, created with ink. I am struck by how the artist uses the simplicity of ink to capture such an expansive landscape. It’s like he has meticulously constructed a world using just lines and tones. How would you interpret this work from a formalist point of view? Curator: The beauty here lies in Esselens’ expert manipulation of line and form to create depth and spatial relationships. Observe how the density and direction of the lines shift, meticulously describing textures, volume, and even suggesting atmospheric perspective. Editor: I notice the variation in line thickness. What does that achieve? Curator: Precisely. The varying weight of the lines emphasizes certain elements over others. Notice how darker, bolder lines in the foreground contrast with the delicate hatching in the distant mountains, reinforcing a sense of receding space and directing our focus. What semiotic readings can we extract from the interplay of planes and motifs? Editor: Well, the horizontal plane is stable, but that's juxtaposed with the textured complexity of trees in the foreground and a large mountain in the back... perhaps a meditation on humankind's relation with nature? Curator: It might also address the relationship between detailed observation and schematic representation. Esselens offers visual order rather than illusionistic mimesis. Editor: So, it's more about Esselens highlighting the act of seeing and organizing than about recreating reality. I didn't think about that before. Curator: It reveals a conscious construction, which engages the viewer in deciphering visual language. It reminds us of the structural underpinnings of pictorial space.