Study of female nudes to figures of three Marys for the painting ‘Three Marys’ 1865

Editor: This pencil drawing, dating from 1865, is titled "Study of female nudes to figures of three Marys for the painting ‘Three Marys’" by Józef Simmler. I'm immediately struck by the different poses and the contrast between the heavy shading on the leftmost figure and the delicate, almost tentative lines of the figure on the right. What do you see in this study? Curator: The piece evinces a careful exploration of form through line. Observe how Simmler delineates the volumes of the human body using subtle gradations in tone, achieved by varying the pressure of the pencil. Note the academic approach in his treatment of the nude. What is revealed, do you think, through this particular approach to representation? Editor: I see a focus on the anatomical accuracy, but there's also something quite raw about it. It feels unfinished, exposing the artistic process itself. The dynamism achieved with these varied states of completion and the almost frenetic quality to some of the pencil strokes. How would you tie those observations to Simmler's technique? Curator: He clearly valued the expressive quality of line. Take a moment to compare the implied weight and texture conveyed through the denser cross-hatching in the figure weeping to the implied airiness in the lines on the figure to the right. The lines almost appear independent of a subject, and take on new dimension with each figure. In a way, the unfinished nature provides greater insight into Simmler's methodology and conceptual journey. Do you find the varying weight distracting or complimentary? Editor: I can see how those two qualities interact – I no longer see the incomplete sections as mere gaps, but as crucial elements enhancing my comprehension. What strikes me most is that this drawing is both an illustration of process and something complete. Thank you for opening my eyes. Curator: It's been my pleasure. Thank you for engaging so deeply in the forms presented.