Untitled (Wreck on Sea Shore) 1935

Editor: We’re looking at Roderick Fletcher Mead's "Untitled (Wreck on Sea Shore)" from 1935, created with ink and etching. I'm immediately drawn to the composition; it’s strangely unsettling. There’s a skeletal wreck next to eroded rock formations. What stands out to you? Curator: The interplay between geometric form and organic decay certainly animates the image. Observe how the skeletal ribs of the boat are echoed, in a softened manner, by the eroded rock, while a linear pattern of light and shadow models volume and structure throughout. Consider, as well, the relation between foreground and background. How does the artist use line and tonal variation to guide the eye? Editor: I see what you mean about the relationship between the rocks and the wreck. And yes, the foreground definitely dominates, making the waves almost a backdrop. But I'm not sure if I fully grasp the intent. Curator: Indeed. Note, though, that the waves in the distance employ an almost schematic regularity. Mead avoids any romantic portrayal of the scene; he seems instead preoccupied with problems of geometric structure, linearity and recession, doesn’t he? Editor: He does! The geometric precision almost negates the realism you expect in a seascape. Thanks! Curator: Of course. Paying careful attention to an artist’s visual strategy encourages us to attend closely to their aesthetic, as opposed to narrative concerns. Editor: Absolutely, analyzing the art using your Formalist perspective was valuable to think about the structures and lines and composition as a visual form. Curator: And understanding that formal structure enables us to comprehend artistic choices from a new perspective.