Untitled 1991

Frederick Sommer made this untitled piece sometime in the 20th century using graphite, primarily in sepia tones, on paper. It depicts the miracle of birth in a clinical, almost scientific style. Looking at the image, I can imagine Sommer hovering over the paper, meticulously shading each contour of the unborn child, and the skeletal structure surrounding it. He probably felt like he was walking a tightrope between science and art, balancing precision with expression. The hands are so delicately rendered, yet so assertive in their placement. The palette is restrained, but each line feels intentional. The cross-hatching and stippling create a soft, almost dreamlike quality, which is interesting given how matter-of-fact the overall image is. I’m reminded of the anatomical drawings of artists like Vesalius. Sommer's work shows us that art isn’t just about beauty, but about the endless, inspiring dialogue of human knowledge. It’s not just about what we see, but how we see, and what those visions tell us about ourselves and the world.