En skægget Olding 1733 - 1816

Editor: Here we have W.A. Müller's "En skægget Olding", or "A Bearded Old Man", dating from 1733-1816. It's an engraving, so technically a print. It strikes me as a very somber and intimate portrait, quite small too, I imagine. What do you see in this piece? Curator: I see a masterclass in the manipulation of line. Observe how the density of the engraved lines defines form and texture. The artist uses close hatching to create areas of deep shadow, especially behind the figure, pushing him forward, whilst sparse lines suggest lighter areas, describing the contours of his face and beard. Editor: So, you’re focused on the process, the technical skill? I hadn’t thought about it that way, more on the man's expression. Curator: Precisely. It’s not just the *what* but the *how*. Note, for instance, how the lines curve and flow to describe the drapery. This creates a sense of movement and dynamism within a static medium. What does that dynamism create for you? Editor: Well, the way the lines pull your eye around...It creates a sense of inner turmoil almost. His inward focus maybe? It’s cleverly done. I am interested, though: why is the image cropped? Is this a decision by the artist or later mounting? Curator: An interesting question! The cropping emphasizes the face of the man. Notice how we are brought directly into the image by being shown what the artist most wants us to see: it emphasizes, as you say, the introspective expression. Whether that was intentional, or for later mountings of the print, we don’t know! But, we should not ignore the formal function here. Editor: Fascinating. So, beyond just representing an old man, the engraving itself, the marks, the lines, are vital to understanding the artwork's impact. Thanks for highlighting those formal elements.