Liebespaar (Lovers) [p. 23] 

Editor: This drawing is entitled "Liebespaar (Lovers) [p. 23]" by Max Beckmann, made with pencil and graphite on paper. It feels so raw and gestural. I’m curious, what elements stand out to you in this piece? Curator: Formally, the interplay between the linear quality of the graphite and the underlying structure provided by the lined paper is compelling. Observe how the rapid, almost frenetic, lines define the figures, creating a sense of dynamism. Do you notice the ways in which Beckmann employs line weight to suggest form and depth despite the two-dimensional nature of the medium? Editor: I see what you mean. The varying line thicknesses almost sculpt the figures out of the page. But I'm wondering, does the composition suggest anything about the relationship between the lovers? Curator: The interlocking forms immediately present a unified field. Note the positive and negative space created by the embracing figures, and how it reinforces the concept of unity and connection. Consider, though, the ambiguity present in the individual forms; are they distinct, or does Beckmann deliberately blur the boundaries to explore themes of shared experience? Editor: It’s interesting how the embrace can be interpreted both as comforting and perhaps overwhelming, the lines almost blurring the individuals. I guess I was focused more on what it meant. Curator: Meaning is undoubtedly generated by the forms on the page. It is key to engage in semiotic and structuralist interpretations of this work, so you have much to learn about deconstructing artwork, yet, clearly, the artistic gesture does move you. Editor: It does. Now that I’m paying closer attention, the raw emotion comes through more in the formal choices than I first thought. Curator: Precisely! The expressive power of the artwork arises not from external referents alone, but from the considered manipulation of form.