Pepita poseert voor een spiegel met een pet before 1948

Editor: We’re looking at "Pepita poseert voor een spiegel met een pet," which translates to “Pepita posing in front of a mirror with a hat,” by Hans Borrebach. It’s likely an ink drawing and appears to be pre-1948. There's a playful, cartoonish quality. What stylistic elements stand out to you? Curator: The linearity is dominant; it dictates form through the rhythmic contours of the figure and setting. Notice how Borrebach uses line weight—thick and thin—to describe volume and shadow without relying on traditional shading techniques. It seems to emphasize the flatness of the picture plane. Are we given insight to Borrebach's philosophy on realism by what we can gather from the artwork? Editor: The composition is interesting with three iterations of the woman: her back, her mirror reflection and a woman off to the left. They all seem distinct despite the same woman depicted. Can you tell me more about Borrebach’s intentions behind these varied viewpoints of a central character? Curator: It establishes an inherent dialogue between different modes of representation. The mirror reflection serves to reiterate form, but the image in the dress stands apart in terms of line density. The cross hatching creates another tonal element in contrast to the graphic mirror reflection. Editor: It’s like he is presenting three stylistic perspectives to explore her persona. Almost like a before, after, and maybe the truth in between. Curator: Precisely. Consider how Borrebach manipulates form within each of those stylistic parameters. Line quality defines contour but also spatial relationships. Editor: I’ve definitely never thought of simple contour in such depth. Thanks for expanding my perspective on formal choices and its impact. Curator: The graphic weight employed is in careful orchestration. We often take for granted those details, instead of the obvious content of an image. It has been a pleasure.