The Hon. and Rev. Samuel Best c. 1833

Editor: Alfred Stevens' portrait of The Hon. and Rev. Samuel Best, held at the Tate, is incredibly striking. I'm fascinated by the use of line here. What do you see in the composition and the mark-making? Curator: The linearity is indeed paramount. Note the economy of line, creating volume and texture. Observe how the hatching defines the planes of his face and the drape of the coat. Stevens masterfully uses the blank space of the paper to imply light and form. Editor: So it's less about what is depicted, and more about how it's depicted, and how the artist utilizes the materials. Curator: Precisely. The subject is secondary to the aesthetic experience of the line itself. It demonstrates a pure engagement with the formal elements of art. The technique is the essence. Editor: I hadn't considered the negative space so intentionally before. I'll keep that in mind moving forward. Curator: Excellent. Always remember to look at the artwork itself, how the artist manipulates form, and its intrinsic qualities.