Voorstellingen van verschillende emoties by Bernard Picart

Voorstellingen van verschillende emoties 1711

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drawing, print, ink, pen

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portrait

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drawing

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baroque

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print

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ink

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pen

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genre-painting

Dimensions height 96 mm, width 59 mm, height 96 mm, width 58 mm, height 94 mm, width 60 mm, height 96 mm, width 59 mm, height 368 mm, width 236 mm

Editor: This is "Voorstellingen van verschillende emoties," or "Representations of different emotions," a 1711 pen and ink drawing by Bernard Picart. I find the stark presentation of these faces almost clinical in their attempt to capture different emotions. What do you see in this piece, Professor? Curator: Primarily, I observe Picart's astute application of line to delineate form and convey emotional states. Note the economy of means: a simple pen and ink drawing, yet the gradations in line weight, the hatching and cross-hatching, create volume and texture. Consider, for example, how the lines defining "Le Mepris" are sharp and angular, emphasizing the contemptuous curl of the lip, whereas "La Veneration" is rendered with softer, smoother lines that speak to a kind of peaceful stoicism. Do you notice that contrast in technique across the four figures? Editor: Yes, the varying line work does give each face a distinct quality. But why isolate the faces in boxes like this? What does it contribute to the viewing experience? Curator: The compartmentalization underscores the exercise in observation; we are meant to dissect each face, studying the formal elements that contribute to its unique expression. Each becomes a case study, almost like an exercise in physiognomy, and focuses our attention strictly on form and representation. Moreover, notice how the minimal background focuses all visual attention to the nuances in line and the careful arrangement of shapes forming the faces. Editor: So it’s less about the individuals and more about the art of depicting emotion through pure form. Curator: Precisely. Picart seems primarily engaged with exploring the semiotics of facial expression, deconstructing how visual cues signify specific emotional states, offering us a masterclass in how line alone can be profoundly expressive. Editor: I see it now; it's not just what is represented but *how* it is represented, making this work more about the structure of emotion itself. Thank you!

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