Studies of Horses 

Editor: Here we have James Ward's "Studies of Horses", a watercolor and drawing piece. What strikes me is the way he captures the different postures of the horses, some standing, some resting, all within this light wash of color. What do you see in this piece? Curator: Primarily, I observe the artist's focus on line and form. Note the confident, economic use of line to delineate the musculature and volume of each horse. Observe how Ward leverages the inherent qualities of watercolor, its translucency, to create depth and atmosphere, and consider how those qualities are in dialogue with the confident penmanship that defines each animal's presence. Does this work’s success lie in its skillful portrayal of equine anatomy or is there more going on? Editor: I guess I was thinking about how informal it feels; is that also a feature, and not a bug? Curator: Indeed! The looseness is key, since its formal execution enables it to exist as both a preparatory sketch and a complete work in its own right. Consider the compositional arrangement of the figures. How does Ward manage to avoid compositional chaos while arranging the figures in an open field? Editor: By distributing them in an open grouping instead of putting them on top of each other? It feels balanced, yet natural. I hadn’t considered that intentionality. Thanks. Curator: You're welcome. Considering the materiality alongside formal choices certainly reveals new depth in even seemingly simple sketches such as this one.