Maria van Bourgondië valt van haar paard, bij Brugge, 27 maart 1482 1788 - 1790

Editor: Here we have Jacobus Buys' ink, pencil, and paper drawing, "Maria van Bourgondië valt van haar paard, bij Brugge, 27 maart 1482", created between 1788 and 1790. It’s quite a dynamic composition. I'm struck by the almost chaotic energy – the rearing horse, the figures in disarray. How do you interpret this work through a formalist lens? Curator: Precisely. Let us consider first the formal elements before venturing into narrative speculation. Note the artist's masterful manipulation of line and light to convey a sense of disequilibrium. How does the density of the ink contribute to the overall composition, specifically in guiding the eye? Editor: I see what you mean. The darker inks around the trees and the falling figure really draw my attention. Is the contrast maybe creating tension, mirroring the subject matter? Curator: Indeed. Observe also the interplay of horizontal and vertical lines. The verticality of the trees is juxtaposed with the diagonal lines created by the falling figure and the horse's posture, intensifying the sensation of movement and instability. The entire drawing verges on losing control but remains meticulously crafted. Editor: So, even without knowing the historical event depicted, we can analyze the artistic intention through purely visual cues and theoretical engagement? It is interesting to see the piece independently of it's historical reference, Curator: Precisely. This is where a semiotic approach allows a close reading of the relationships, lines, composition and density; allowing us a fresh lens into the artist's composition absent the weight of external knowledge. I believe it would be fair to claim an expression of control through line in spite of a display of chaotic movement. Editor: That's a great point. I will need to focus more on formal relationships now. Thanks! Curator: My pleasure! Approaching art using intrinsic qualities offers powerful insights.