Verdorde strelitzia 1934 - 1937

Editor: Here we have Samuel Jessurun de Mesquita's "Verdorde strelitzia" from 1934-1937, a woodcut printed on toned paper. The geometric abstraction of the plant form, contained within the stark circular boundary, is really striking. What compositional elements do you see at play here? Curator: Note the interplay between the positive and negative space; the plant is silhouetted within the circle, emphasizing its geometric and abstracted nature. The varying densities of ink application create tonal depth, enriching the composition, would you agree? Editor: Absolutely. The subtle variations in tone do create an almost palpable sense of depth, despite the obvious flatness inherent to a woodcut. Do you think the title, "Verdorde strelitzia," informs our understanding of the piece? Curator: It offers a conceptual framework. “Verdorde” is evocative. Is the essence of a thing – in this case a strelitzia – captured just as clearly, or perhaps more so, when past its prime? Consider the lines – how would you characterise them? Editor: They’re sharp and angular. The overall impact feels intentionally stark. Curator: Precisely. Mesquita isn't aiming for mimesis, but instead offering us an interpretation that leverages the strengths of the woodcut medium itself. Do you feel the plant is necessarily aged or dying? Editor: I can't tell if the "Verdorde" is depicted literally, or it refers to some artistic expression. Thank you, this changed the way I see the piece. Curator: And I in turn, find myself more intrigued by its tonal values after your comments!