Settee c. 1936

Editor: This is Rosa Burger’s "Settee," from around 1936. It's a drawing, primarily pencil on paper. It strikes me as so meticulously observed; almost architectural in its precision, despite depicting such a domestic object. What catches your eye in this work? Curator: Immediately, it's the formal interplay between line and plane. Notice how the artist uses a delicate pencil line to define the three-dimensional form of the settee. Yet, simultaneously, there's a flatness inherent in the drawing itself. This tension between representation and inherent flatness is intriguing. Editor: I see what you mean about the flatness, especially in the seat and the panels at the top. Curator: Precisely. And consider the composition. The settee is centrally positioned, creating a sense of balance and symmetry. However, the slight angling of the perspective introduces a dynamic element, preventing it from becoming overly static. What about the ornamentation? Editor: You're referring to the painted fruit and floral motifs? They add a touch of whimsy to an otherwise austere rendering. They seem to contrast a lot to the plain seat. Curator: Indeed. The question becomes, what is the effect of these decorative elements on the overall structure of the work? One might even consider how these motifs disrupt or complicate the reading of the form. Do you find they integrate well, or stand somewhat separate? Editor: They seem distinct, like added elements, not essential to the form itself. Almost pasted on. Curator: An interesting observation. It makes me wonder if this 'Settee' drawing might represent a meditation on form and function itself. We’ve considered the object represented, as well as the presentation itself. Thank you for engaging on this piece with me. Editor: This was very helpful, thanks. I noticed much more than when I began.