Lowboy c. 1938

Editor: This is Francis Borelli's "Lowboy," dating to around 1938, made with watercolor and drawings, showing some careful carving. The legs feel so elaborate in comparison to the flat surface on top, yet I'm drawn to the contrast of textures, how the light plays across them all. What visual elements stand out to you the most? Curator: Immediately, the anthropomorphic quality of the legs asserts itself. Note how their curvature mimics organic forms, each terminating in what appears to be a stylized paw or foot. Observe the symmetry, yet a subtle variance, in the leg's rendering: this isn't mere duplication but a nuanced presentation. What meaning do you ascribe to such asymmetry? Editor: Perhaps that the artist values realism; not all sides of anything are exactly alike. Are the ornate handles trying to connect the plain horizontal surfaces of the box to the decorated front and legs below? Curator: Consider how Borelli balances utility—implied by the drawers and flat surface—with decoration. The carved foliage on the lower drawer, set against the simple rectilinear forms above, produces a deliberate tension. Does this contrast diminish or enhance the artwork's appeal for you? Editor: I think that makes the functional object into an interesting decoration. The drawers on top fade away as plain geometry, compared to the surface texture below. Are the ornate feet of the table supporting it, or is the artwork a bit whimsical, where the object would almost appear to want to dance away from a flat, plain wall? Curator: Note also how the light is handled. The delicate washes of color, especially around the legs, create depth, giving the illusion of three-dimensionality. How would this artwork change for you if those shadows and shading were absent? Editor: Good point; it might look cartoonish, or flat like clip art, but the shading creates the shape we perceive. Thinking about how much detail he includes in some parts and the simplicity in others helps me see how everything works together. Thanks for this fresh perspective. Curator: Precisely. It is in understanding these formal relationships that we unlock new possibilities for how art speaks, through composition.