Adze c. 1940

Editor: Here we have Dana Bartlett’s "Adze" from around 1940, rendered in watercolor and charcoal. It’s striking how this utilitarian object is presented with such clarity. What strikes you most about the piece? Curator: The most compelling aspect lies within the application of media itself. Observe how the artist utilizes both charcoal and watercolor not for expressive purposes, but structurally. The charcoal defines edges, providing stark contrast that isolates the adze against the negative space. Editor: It’s almost photographic in its clarity. What about the use of watercolor; how does it contribute structurally? Curator: Consider the gradients present within the wooden handle. The artist’s subtle manipulation of diluted pigment lends the handle volume, imbuing it with the illusion of three-dimensionality. Furthermore, examine the application upon the metallic head of the tool; the granular texture is skillfully represented, contrasting the smooth handle. Editor: I see how the textures play off each other. So, even in depicting a simple tool, Bartlett uses the formal qualities to create depth and interest. Curator: Precisely. It demonstrates that visual interest stems from technique and manipulation of form, independent of subject matter. Editor: This has certainly given me a fresh way to think about still lifes. Looking closely at form can reveal a whole new layer. Curator: Indeed. It reaffirms the power inherent within the artist's formal decisions.