Figuren, mogelijk voor een gebouw c. 1886 - 1923

Editor: This is "Figuren, mogelijk voor een gebouw," or "Figures, possibly for a building," by George Hendrik Breitner, created sometime between 1886 and 1923. It's a pencil drawing on paper currently held at the Rijksmuseum. It looks like a jumble of lines at first glance, very chaotic and abstract, but I sense there may be some compositional geometry involved, especially in the lines on the right-hand side. What do you make of it? Curator: Indeed, at first sight, the work may present as a chaotic assemblage. However, consider the deployment of line – its varying weights, lengths, and angles. The subtle gradations achieved with simple pencil strokes delineate planes and suggest depth. Note the almost architectural rigidity of certain clustered vertical lines, in contrast to the freer, almost gestural marks elsewhere. Can we then agree there is a sense of formal control at work amidst this seeming randomness? Editor: I can see that now. The vertical lines on the right side do seem deliberate. And now I am seeing the interplay between the different types of marks. It's less chaotic and more of a... visual conversation. What do you make of the shadowed rectangle toward the top of the paper? Curator: The cross-hatched rectangular section creates a concentrated mass which serves to anchor the lighter strokes around it. Its opacity gives us a visual "weight" or density in the visual economy of the artwork. If we consider the total composition, we could view it through the lens of structuralism. Editor: Ah, I think I understand. Thank you for your insights into the language of this piece. I’ll be viewing drawings in a new light going forward. Curator: An appreciation of the compositional grammar can bring any artwork to life. I hope this unlocks a deeper enjoyment for you as you study works such as this one.