Ontwerp voor een penning (?) van gips met een paard 1876 - 1947

Editor: We’re looking at “Design for a medal (?) of plaster with a horse,” created by Lambertus Zijl sometime between 1876 and 1947. It has such a tactile quality, the shapes rendered so geometrically. What do you see in this piece, approaching it purely from the visual? Curator: What strikes me immediately is the formal tension created by the interplay of line and volume. Note how the artist employs a restricted palette, limiting us to the nuances within a single color. The dynamism of the horse is rendered through a series of geometric planes, fracturing the traditional form. Editor: I can see that. So, it’s about dissecting the form to show movement and energy, instead of realistically depicting the horse? Curator: Precisely. Consider also how the circular frame acts as a containing force, further emphasizing the animal's energy. The texture of the plaster itself contributes significantly. Does that suggest anything to you? Editor: Perhaps that the rough texture provides a raw, unfinished feel, contrasting with the deliberate geometry. It stops it from feeling too polished or classical. Curator: An excellent point. This interplay thwarts expectations. Now, thinking formally, what purpose do you think these visible tool marks and uneven surfaces serve within the larger composition? Editor: To be honest, I thought the imprecision might be a flaw, but I understand now that those variations highlight a raw physicality and add depth to a seemingly simple work. Curator: Indeed. It asks us to reconsider the essence of form, and the very process of creation. Editor: This makes me see the piece completely differently, and challenges the conventions that underpin more traditional approaches to sculpture. Thanks for opening my eyes.