Valentine 1859 - 1869

Editor: Here we have "Valentine," an undated drawing or print on paper from the mid-19th century, presently residing at The Met. I'm struck by the delicate detail of the lacework, the miniature portrait, and even the tiny 'I love you' book. It’s intensely romantic. What stands out to you about its visual qualities? Curator: Immediately, the layering of forms strikes me. Note how the artist juxtaposes the raised, almost sculptural birds and filigree against the central oval containing the painted profile. The textures – the paper's grain, the delicate rendering of the face – create a compelling haptic experience, even visually. Editor: Haptic, as in related to touch? Do you think the artist wanted to replicate lace through the carving? Curator: Precisely. The artwork manipulates visual cues to simulate tactile sensations. Consider the embossed birds, how they are slightly detached, creating a sense of depth against the ground of lace-like patterns. The formal structure guides the eye, moving from the birds down to the portrait and finally resting on the 'I love you' book, creating a visual narrative of love. What role does colour play? Editor: There is very little colour except for the tiny image in the frame. Is this to push you towards the textures as the most important part? Curator: Yes, exactly, the subtle tonal variations in the white and cream palette allow for focus on texture and form. Moreover, observe how the linear quality of the composition guides the gaze, almost directing a viewer how to feel as well as how to look. This contrasts the intimacy of the image held at the centre. Editor: This piece certainly is visually complex when we consider how the composition controls the gaze and the use of texture as a narrative tool. Curator: Precisely! A piece of decorative art is often more complicated than it first appears!