Samuel Masury 1859

Editor: We are looking at Winslow Homer's "Samuel Masury," from 1859, an engraving printed in a periodical. The stark contrast of the portrait at the top, contrasted to a lush, landscape at the bottom is striking. It's a curious arrangement, almost like two separate images sharing space. What do you see in the way it is composed? Curator: Observe how the rigid geometry of Masury's portrait mirrors the structure within the lower landscape. The portrait, rendered with sharp, precise lines, shares the formal qualities of architectural rendering apparent within the illustration of Combermere Abbey. It creates a sort of 'sandwich', uniting form with subject. What do you make of the landscape as counterpoint to the portrait? Editor: I see what you mean. It does seem to have those structural echoes in its geometry. The landscape feels almost dreamlike by contrast. Its hazy atmosphere, as achieved via cross-hatching, seems deliberately at odds with the precise portrait. Curator: Indeed. The textural contrast achieved through varying engraving techniques directs our eye. The use of line weights is key. Notice how they direct your eye towards areas of light or volume in both the portrait and in the lower scene, reinforcing a relationship, yet it is distinct in each case. Does the work hold your gaze? Editor: Definitely! I see new connections each time I look. It is such a simple set of forms, and a contrast between precision and natural form, yet the effect is enduring. I might even study printmaking! Curator: An insightful response. To focus on these internal relations in the image can give great dividends for analysis.