Maryse 1929

Andre Dunoyer de Segonzac etched this portrait, Maryse, using delicate lines and bold marks that bring her to life. I can imagine him leaning over the plate, acid fumes in the air, scratching away, wiping, re-etching—the way she emerges is a dance between intention and accident. The dark, almost smudged areas around her eyes and cheek give her face depth and shadow, while the thin, wispy lines defining her hair create a sense of movement, as if a breeze just touched her. That little curve of the lip, a smirk, maybe? It's like Segonzac is whispering, "Here's a glimpse, a feeling, not the whole story." It reminds me of other printmakers, like Käthe Kollwitz, who also knew how to use line to convey so much emotion. Each artist builds on the other's work, riffing, responding, and pushing the conversation forward. Ultimately, "Maryse" isn't just a portrait; it's an invitation to see, to feel, to question.