Mandrill [p. 30] 

Editor: This graphite drawing, "Mandrill [p. 30]," is attributed to Max Beckmann, although it's undated. I find the frantic linework gives it such an anxious mood; how do you see the work? Curator: Indeed. Looking closely at the drawing’s construction, observe the dynamism of line itself. There’s a distinct opposition set up between the densely hatched areas forming the backdrop, contrasted by the relatively clean, contoured form of the animal. Do you notice the tension between surface and depth? Editor: I see that now, with the heavier shading almost pushing the subject forward. Is there anything more to consider beyond the composition? Curator: The interplay of these structural components becomes the very content. Beckmann exploits graphite’s capacity for both delineation and atmospheric effect. Consider the intentionality of mark-making – is it precise, chaotic, or both? The varying pressure and direction imbue the drawing with energy. Editor: So, it's not about *what* he's drawing as much as *how* he's drawing it? Curator: Precisely. This foregrounds his formal experiment, even beyond its likely status as a sketch. The success relies purely on visual terms, quite separate from representational likeness or expressive intent. We must evaluate it for what it *is*, before asking what it might *mean*. Editor: That's given me a new perspective, focusing on the actual process rather than just the subject. Curator: And by focusing intently on these inherent pictorial devices and qualities, we enrich our encounter with the work.