Two Women with Sun and Bird (recto); Two Men Fighting and a Fallen Horse (verso) 1500 - 1600

Editor: We are looking at "Two Women with Sun and Bird" an ink drawing made circa 1500-1600 by an anonymous artist. The recto side seems to depict allegorical figures and a bird. What compositional elements strike you most? Curator: Immediately, I’m drawn to the strategic placement of figures within the pictorial space. Note the verticality of the standing woman contrasted against the reclining figure and the bird situated low, near the base. Observe, too, the dramatic lighting emanating from what appears to be a sun figure. What effect does this strategic arrangement create? Editor: It does make for a striking contrast. The standing woman almost seems to be reaching for the sun. The reclining figure and the bird seem more earthbound. Do you think this choice of verticality has to do with establishing a visual hierarchy? Curator: Precisely. The use of verticality immediately establishes the dominant and subordinate relationships, doesn't it? Furthermore, the contrast in poses adds to the dynamic tension. What inferences can you draw from this tension? Editor: The tension really speaks to me of striving or maybe aspiration, with the standing woman wanting something more than what she already has. Curator: That's an astute reading. Consider the artist’s use of line as well –– the swift, almost frenetic strokes contribute to the sense of urgency and movement. Line is here more than just a delimiter of form. How does line dictate the mood and emotional weight of the composition? Editor: The linework really does lend a raw and expressive feel. I'm intrigued by the artist's calculated mark-making. Now I’m curious about how the verso ties into this visual scheme. Curator: Exploring the verso is a worthwhile undertaking, a way to examine this artist's mind. This drawing demonstrates that even simple sketches are a manifestation of formal decisions, loaded with potential meanings. Editor: Thanks, I have much to ponder!