Portret van A.S. Entingh 1857 - 1909

Editor: Here we have "Portret van A.S. Entingh," a pencil drawing made sometime between 1857 and 1909 by Emrik & Binger. The piece strikes me as quite reserved, even a bit austere, due to its limited tonal range and straightforward composition. What do you see in this work that catches your eye? Curator: The subtle gradations achieved with the pencil are remarkable. Note the artist’s control of value to create the illusion of form and texture. How would you describe the geometric underpinning of the composition? Editor: I see what you mean. The underlying geometric structure seems to focus attention right on the face. It looks like it starts with a sharp focus on the nose and then there's softening on the contours of the coat. I hadn't really noticed that before. Curator: Exactly! The handling of light and shadow, particularly around the face, invites the viewer to consider the very materiality of the drawing. In its reduction to form it captures a particular likeness. Are the lines descriptive? Editor: Now that you mention it, I realize the lines seem almost scientifically observed, striving for pure representation rather than emotional expression. The very limited grayscale range makes you study each tiny line more intently, more deeply. I find myself noticing lines and angles more. Curator: Yes, and how does the relative size of the head to the shoulders determine something about the status of the sitter? It creates visual tension. Editor: That is a very subtle feature; the artist emphasizes intelligence and not physical bulk by enlarging the head slightly relative to the body. I never noticed before that how a geometric relation can change my interpretation of a portrait. Curator: I appreciate how the study of artistic form is enriching the aesthetic and emotional reading. Editor: This close examination definitely opened my eyes to the artist's sophisticated methods of representation, it moves beyond mere mimicry. Thank you.