Extase 1922

Editor: Here we have Samuel Jessurun de Mesquita's 1922 woodcut, "Extase," currently residing in the Rijksmuseum. It's a striking image, largely black and white. The starkness of the medium combined with the female figure really stands out. What do you see in this piece, in terms of its formal qualities? Curator: The formal organization presents a compelling study in contrasts and rhythm. The nude female figure is centralized, her verticality emphasized, starkly contrasting with the dark, almost engulfing, background. The curvilinear lines which frame her seem to act as both confinement and ascension. Notice the interplay between positive and negative space. The artist utilizes the black ink to not only define form but to contribute to the overall expression of… heightened feeling, if you will. Editor: The black ink is laid down very methodically it appears. I'm curious about the two faces or masks on either side. They appear less naturalistic than the central figure. Curator: Indeed. These somewhat grotesque masks, symmetrically positioned, function as counterpoints. Their presence emphasizes the tension in the composition. While the central figure is rendered with relatively smooth lines, suggesting a kind of idealized form, the masks exhibit harsher, more angular cuts, lending them a caricatured quality. Note also how the grain of the woodcut itself becomes part of the visual language. Editor: It’s like they're flanking the figure, almost trapping her. The word “Extase” suggests a feeling of euphoria but the surrounding composition gives the figure an unsettling vibe, wouldn’t you agree? Curator: The title may be understood ironically. The forms, although technically proficient, express less of blissful transcendence and more of an internal conflict, mediated via graphic techniques. Editor: So it seems that despite the name suggesting pure joy, the artist has utilized stark compositional tools, which result in more of a unsettling observation of an internal struggle. Curator: Precisely. The interaction between form and subject reveals this work to be more than merely descriptive.