Lièvre. / Lepro. / Hase. / Hare. / Haas 1829 - 1880

Editor: We're looking at "Lièvre. / Lepro. / Hase. / Hare. / Haas" by firma Joseph Scholz, created sometime between 1829 and 1880. It’s a print of two hares, one standing and one grazing. I find the composition interesting with its division of the picture plane into zones and varied colors. What do you see in it? Curator: The arrangement is indeed noteworthy. Observe how the standing hare bisects the composition vertically, creating a strong central axis. The chromatic scale employed exhibits an interplay between muted earth tones and the verdant landscape behind. Is it perhaps a structured method to convey symbolic importance using shape? Editor: I hadn’t thought about it that way. The division certainly brings the eye directly to that upright hare. Do you see any purpose in the varying focal depth, which directs a second visual axis away from the vertical zone of the standing hare? Curator: Precisely. Consider the contrast: the standing hare, sharply delineated, versus the subtly blurred background. This juxtaposition creates visual stratification, perhaps suggesting a hierarchy of existence within the piece or a dichotomy in its meaning. Could it function as a comment on the role of nature within a social stratum? Editor: That's insightful. I was just seeing a picture of hares, but there is certainly visual evidence to back your interpretation. Curator: Formal analysis unveils layers beyond mere representation. This artwork, seemingly simple, demands contemplation of its construction and articulation of a purpose. The elements here form a visual dialogue with the artist communicating in the language of color and composition. Editor: Thanks. I have much to learn on the impact of the underlying composition and its effects on our perception.