Lying cattle to the left 

Curator: The languid posture of the animal in Friedrich Wilhelm Hirt's "Lying cattle to the left" is what strikes me first. The Städel Museum holds this quiet study, crafted with ink, placing it somewhere in the long 18th century. Editor: There’s a kind of stillness to it, isn’t there? A contented slump. Like finding the perfect sunny spot for an afternoon nap. The washes of ink give it such a warm, sleepy feel. It's just brown ink but I imagine, visually at least, it could have a similar presence when this artwork was first made and shared... Curator: And it's the seeming casualness of those washes that’s deceptive. Notice how the layering and concentration of ink actually build form and volume. It’s less about portraying ideal pastoral life, and more a careful record of observation, focusing on the specific materiality of ink to construct an image of cattle. Editor: Right. I mean, a lot of these kinds of sketches, even now, would involve multiple types of drawing media to capture such a shape... There’s something humble and almost meditative about such focused mark-making. No frills, just dedicated attention to rendering shape and texture. Like a love letter to... cattle, in ink. A very earthly medium! Curator: Indeed! The artwork subtly comments on artistic production too, demonstrating how Hirt mastered accessible tools like ink and drawing to give life to the ordinary. It democratises subject matter. I guess it all stems from what art is made of as a vehicle for the artist. Editor: The quiet hum of the animal’s resting, it translates to that quiet power and devotion to materials the artist has also, even now, such a long time later! I almost expect her to shift any moment. You can nearly smell the hay and sunshine. Curator: A fleeting, realistic portrait. Editor: The simple rendering feels incredibly present! It helps you wonder about that sense of focus it creates even today.