Two Sisters 1915

Editor: We are looking at "Two Sisters," painted in 1915 by Camil Ressu. The texture of the oil paint on canvas is quite apparent. There's something very solemn about the figures, standing so close yet seeming disconnected. What do you see in this piece from a formalist perspective? Curator: The composition is strikingly symmetrical, dividing the canvas nearly in half with the two figures. Note the verticality—it's echoed in the tree trunk, and their bodies, contributing to the static, almost monumental quality. Consider the contrast of color: the muted earth tones against the softer, diffused palette of the landscape. Editor: Yes, the earthy colors against the pale landscape are intriguing. There’s a tension there. Are there any significant formal relationships you notice in the work? Curator: The limited color palette works to unite the composition. Ressu uses a repetitive circularity, you see it in the headscarves and reiterated, though more abstractly, in the background foliage, creating a subtle rhythm. It's a restrained harmony. How do you perceive the use of line? Editor: I hadn't noticed the repetition of the circular shapes. As for the lines, they seem quite deliberate, defining forms but not particularly sharp, softened somewhat. Almost naive perhaps? Curator: The subdued line quality is crucial. Ressu is clearly interested in flattening the picture plane. There is a deliberate move away from Renaissance depth. Consider what effect is produced by the reduced sense of volume. Editor: The flatness does make them seem more symbolic, less like specific individuals. This has certainly altered how I view Ressu’s formal choices and understand how it creates the symbolic feel of the painting. Curator: Exactly, through rigorous arrangement of form, line, color, and plane Ressu elevates the scene. These formal qualities contribute greatly to its powerful effect.