"Les ruines elles-memes ont peri" 1926

Editor: Here we have Georges Rouault's 1926 etching and aquatint "Les ruines elles-mêmes ont péri." The heavy blacks and stark contrasts are immediately striking, and I find the composition, with one figure above and one below, quite compelling. How do you read this piece, focusing on its form and visual elements? Curator: It is indeed the severe contrast that initially commands our attention. Observe how Rouault manipulates light and shadow, almost sculpting the forms from darkness. The crude lines, reminiscent of stained glass leading, further emphasize the somber mood. Do you notice how the composition divides the image field, setting up a binary between the two figures? Editor: Yes, the division is very clear. The top figure seems to be a depiction of Christ, with radiating lines suggesting divinity, while below is what appears to be a soldier, looking downwards in despair. It is stark, each carefully placed, but also set in opposition to each other. Why set them in apposition like this? Curator: Consider the formal arrangement. The rigid geometry of the frame contrasts sharply with the fluid lines within each panel. The rough texture of the aquatint enhances the expressive quality of the line work. Rouault’s selection and application of the tools contributes meaningfully to the symbolic weight and creates a strong impression of both suffering and grace through these material qualities alone. How might you describe the artist's attitude, if we're just looking at these aesthetic and formal choices? Editor: It strikes me as a very emotional, almost grief-stricken commentary. I appreciate the way the stark materials add to the meaning of such an intense work. Curator: Indeed. Rouault masterfully integrates form and content, crafting an etching of enduring power through deliberate visual language. The title resonates perfectly with the art in front of us: devastation itself has ended, the rest is the aftermath of this disaster, only pain.