February 1772

Editor: This is "February" from 1772, a coloured-pencil, tempera and print drawing by Hendrik Meijer. It feels… bleaker than I expected, somehow fragile in its depiction of winter labor. How would you interpret this work through a Formalist lens? Curator: Let's observe the distribution of tonal values first. Notice how Meijer employs a limited range of colours. The dominance of grey and pale ochre unifies the composition, effectively conveying the season’s characteristic muted light. This subdued palette reinforces the solemn mood you noted. What structural elements catch your eye? Editor: The windmill is an obvious focal point with its size and positioning to the left. Then there's a kind of visual counterweight created by the church steeple in the background on the right. Curator: Precisely. Consider also the strong horizontal line created by the landscape itself, balanced by the verticality of both the windmill and the church. These compositional choices establish a tension. Note how the bare branches of the tree mirror the angles of the windmill’s sails, further creating visual unity within the contrasting elements. How do these interconnected shapes inform our reading? Editor: I hadn’t considered that relationship! It's almost like he’s equating the man-made and the natural, showing both struggling, but still essential parts of the landscape. It is fascinating how Meijer uses a simple scene to achieve so much. Curator: Exactly. Through precise line work and considered compositional structure, the drawing transcends a mere depiction of labour, achieving an abstract contemplation of form and spatial relationships. Have we moved beyond your initial feelings about its fragility? Editor: Yes! It seems so simple on the surface, but seeing how every line and colour choice plays such a specific role, it is clear this drawing possesses a complex strength. Thank you!