Parasol c. 1939

Editor: Here we have "Parasol," a watercolor and drawing piece by John Swientochowski, dating around 1939. It's quite striking. I'm fascinated by the artist's choice to render a parasol not as a single object, but broken down into its component parts. What strikes you most about its visual construction? Curator: Immediately, I’m drawn to the artist’s command of line and the restrained palette. Note how Swientochowski utilizes delicate hatching and stippling to define the forms, achieving a remarkable sense of volume despite the medium's inherent lightness. The limited colour range focuses our attention on the tonal relationships and textural contrasts. Editor: The separation of parts is interesting. Is this just about form or something else? Curator: It is form foremost, and specifically the act of seeing. Consider how the artist uses negative space to isolate each segment. This compels the eye to analyze each form independently before assembling them conceptually. Observe, too, the meticulous rendering of the materials—the sheen of the fabric versus the matte finish of the wooden handle. These deliberate choices highlight the intrinsic qualities of each element. How would you say the formal arrangement guides your reading of the subject matter? Editor: I see it as inviting closer inspection; less about a parasol as a whole, and more a study in the shape, texture, and colour of everyday objects. The deconstruction isolates and emphasizes those aspects. Curator: Precisely. By dissecting and re-presenting the parasol, Swientochowski directs us toward a deeper appreciation of its formal qualities, detaching it from mere utilitarian function. It prompts us to consider how our perception shapes our understanding of the object itself. Editor: This has given me a completely new perspective. Looking closely at form really unlocks so much in a seemingly simple drawing. Curator: Indeed. It reminds us that the essence of art often lies in the way we see, not just what we see.