Anthony van Dyck c. 1635

Editor: Here we have a print, “Anthony van Dyck,” dating back to around 1635. It’s a rendering by Lucas Emil Vorsterman, using engraving on paper. I'm immediately struck by the texture achieved through the lines, especially in depicting the flowing fabric. How do you, as a Formalist, begin to unpack this artwork? Curator: Let us consider the intrinsic qualities first. Observe the stark contrast, achieved by the varying densities of the engraved lines. Note how this contrast delineates form and emphasizes texture, particularly in the sitter’s hair and drapery. The lines create a chiaroscuro effect, adding volume to the figure, drawing attention to specific areas. This engraving captures and, in some ways, extends Van Dyck's painterly effects. Editor: The way Vorsterman mimics Van Dyck’s style through lines is really fascinating. It’s almost like he’s translating the language of paint into the language of engraving. Curator: Precisely. Now, consider the composition. How does the subject’s gaze interact with the space? Notice the tilt of the head and the positioning of the figure in relation to the picture plane. There is dynamism, almost caught in a fleeting moment, even though it's a still portrait. Can you observe the strategic balance? Editor: I see that. The composition seems to create movement and bring dynamism. It keeps pulling my eyes into different points throughout the print, constantly wanting to analyze the line work. It feels so lively, despite the fact that the source image of the painting would have been a stationary image. I can see how even limiting ourselves to the intrinsic elements brings so much insight. Curator: Yes, focusing solely on the form, its construction and internal relationships allows a deep, and insightful dialogue.