Country Road Framed by Trees (from Sketchbook VII) 1886

Curator: Here we have William Trost Richards' pencil drawing, "Country Road Framed by Trees," from 1886, currently residing at the Metropolitan Museum of Art. Editor: The lightness and simplicity of the strokes really strikes me. It's delicate but clearly intentional. It’s like a memory being etched onto the paper. Curator: Note how Richards captures the essence of the landscape using minimal means, exploiting the interplay of light and shadow with precise, yet efficient marks. The composition draws the eye into the distance, down that winding path. Editor: Right, but thinking about Richards, known for his meticulous Pre-Raphaelite seascapes—this feels so different, so immediate. Was this made *en plein air*, directly observing the landscape? What type of paper allowed for such rendering? And how does the materiality impact the image? Curator: Interesting questions. It does seem like a quick study, possibly a preparatory sketch for a larger work. Observe the artist's application of cross-hatching and the variation in line thickness; these elements give the composition volume and depth despite its diminutive size. Editor: Exactly, that textural element really shows through. I'm also thinking about how drawings from sketchbooks are really pieces of work in progress. Curator: I concur, we should understand that this is just a captured moment from what must have been countless of these pencil and paper interactions. Editor: So true, these humble sketches sometimes tell more about art-making than final canvases ever can. Curator: This discussion allowed me to focus more on the actual formalistic qualities, not just subject-oriented perspective of it. Thank you. Editor: Absolutely! It’s vital to contemplate labor, paper, pencils and all the making processes to fully grasp the context of the landscape.