Trousers c. 1937

Editor: This is William O. Fletcher's "Trousers," a pencil drawing on paper from around 1937. I'm struck by how much detail there is; the shading gives them a really dimensional look. What jumps out to you when you see this drawing? Curator: The piece intrigues due to its representational choices. The artist elected to depict a singular article of clothing, thereby isolating its form and texture within the pictorial space. Consider the handling of line – the meticulous rendering of folds and creases provides a palpable sense of volume. Do you observe the restricted palette? Editor: Yes, it’s basically a monochromatic study in brown. Is the lack of color significant? Curator: Precisely. The tonal uniformity foregrounds the artist’s proficiency in capturing gradations of light and shadow, thereby enhancing the tangible presence of the trousers. Moreover, consider the implications of the subject itself. The choice to represent a common garment transforms the mundane into an object worthy of aesthetic contemplation. What do you make of the composition? Editor: It’s very frontal and symmetrical. It's as if the trousers are presented as an object, detached from a body, almost like an architectural study. Curator: Indeed. By severing the trousers from their implicit context – the human form – Fletcher compels us to evaluate its intrinsic properties, its contours and textural nuances, devoid of extraneous associations. Note the subtle use of perspective and how it amplifies the three-dimensionality. These aspects elevate this work beyond mere representation. It allows one to closely assess the composition through a formalist lens. Editor: I see what you mean. It’s less about what the trousers *are*, and more about the visual language used to depict them. Thank you! Curator: My pleasure. Paying attention to those properties certainly provides another entry point into the understanding and appreciation of art.