17433 („Ich bin die Nachsicht …“) 1932

Editor: This is "17433 ("Ich bin die Nachsicht …")" by John Elsas, from 1932. It combines drawing, collage and gouache. I’m really intrigued by its miniature scale and the cartoonish yet somewhat abstract figure. What do you see in this piece from a formalist perspective? Curator: The first thing I observe is the dynamic tension created by contrasting forms. Notice the hard-edged geometric shapes – the triangles forming part of the figure’s body and headwear – juxtaposed against the fluid, almost serpentine lines of the body. This immediately establishes a dialogue between control and spontaneity, rigidity and fluidity. What do you make of the colour palette, the way Elsas uses predominantly muted, earthy tones punctuated by those sharper geometric accents? Editor: I think the subdued colors, alongside the soft gouache, gives the artwork a dream-like quality. The pops of colour draw the eye, guiding it across the composition, from the striped headwear to the green triangle on the figure’s chest. But I wonder what this choice of colours aims to convey? Curator: Color isn't simply decorative. It works structurally. Observe how the limited colour range – greens, ochres, and reds - when repeated throughout the image create a sense of visual harmony, unifying these disparate shapes into a coherent whole. Consider, too, the flatness of the picture plane. Elsas minimizes any illusion of depth, forcing us to confront the image as a two-dimensional object. Are we looking at depth, or are we observing just form? Editor: That's really fascinating. I had focused on the dream-like quality, and I was not aware of these underlying structures and how they interact with one another. Curator: Exactly. The arrangement of shapes and their formal relationships are just as vital. It really opens our eyes up to seeing something new and interesting.