Studieblad, onder andere met gezichten in profiel 1906 - 1945

Editor: This is a study sheet titled "Studieblad, onder andere met gezichten in profiel" by Reijer Stolk, created sometime between 1906 and 1945. It’s ink on paper, and the stark lines give it a somewhat haunting feel. What elements of its composition stand out to you? Curator: Initially, the sparseness of the medium—ink barely touching paper—establishes a foundation for the analysis. We notice the strategic deployment of line. Look at how Stolk defines the profiles; there’s a deliberate incompleteness, a skeletal structure if you will, allowing the negative space to articulate the forms. Editor: I see what you mean. The profiles are only suggested. How does that contribute to its meaning, or lack thereof? Curator: Meaning isn’t necessarily the province of formal analysis, but signification is. Consider the starkness: a reduction to pure, essential line. What is emphasized by this act of reduction? Perhaps the Platonic ideal of a face, not burdened by material reality. Editor: So, rather than trying to capture the specific likeness, the artist is aiming for a more abstract or essential representation of "face-ness"? Curator: Precisely. And note the ambiguous object dominating the center of the image, perhaps some vessel; its symmetry versus the asymmetry of the faces, and its solidity against their ethereality creates an interesting dynamic, doesn't it? It draws attention to the relationships between the objects and shapes within the work itself. Editor: I do see that contrast now. It's not so much about the faces themselves, but the stark way they’re depicted, and the dialogue between all the elements. Thanks, I’ve learned a lot from focusing on those design elements. Curator: The pleasure is all mine. Approaching art through its visual construction allows for a richer experience, wouldn't you agree?