Two lying sheep 

Editor: Here we have "Two lying sheep," a pencil and chalk drawing presently residing in the Städel Museum. It’s just… peaceful, you know? Simple. What catches your eye about it? Curator: Primarily, I'm drawn to the artist's mastery of line and tone to evoke form and texture. Note the controlled scribbles to establish the bulky fleece of the sheep. See how Hirt uses shading to model the contours of their bodies. Editor: So, you are saying that how the artist rendered these figures carries the weight, irrespective of its pastoral subject? Curator: Precisely. The composition, too, is noteworthy. Observe how the artist has arranged the two sheep, the larger ram serving to frame and protect the lamb, creating a clear hierarchy of forms. Consider, as well, the texture of the background against the rendering of the animals. Do you find any tension there? Editor: There is, now that you point it out! The sheep are soft and textured but the background consists of these vague lines. I almost wish it was cropped more tightly around the figures. Curator: A valid observation. Perhaps that’s what directs our eye to appreciate more directly the artist’s formal skill? By doing less in the environment, our eye focuses on the balance of mass and line. Editor: That makes sense. Thanks! I see the work a little differently now, looking closely at technique rather than just feeling the peacefulness. Curator: Indeed. And understanding how the formal elements function allows for an even deeper appreciation.