Studie van een rechterhand 1710 - 1777

Editor: Here we have Mattheus Verheyden's "Study of a Right Hand," made sometime between 1710 and 1777, executed in pencil on paper. It’s just a hand, but the detail is remarkable; it looks so fragile, somehow. What aspects of this piece strike you? Curator: The beauty of this piece lies in the confident articulation of form using purely linear means. Observe how Verheyden eschews bold tonal contrasts in favor of delicate hatching to suggest volume. Consider also the placement of the hand within the frame, favoring balance. How does the artist direct our sight? Editor: It is quite striking. My eyes definitely focus on the fingers first. I guess because they stand out. Is that why you asked, to make sure I am looking at the shapes, the placement of things, and nothing else? Curator: Precisely. Focus on the compositional elements first and foremost. Notice the interplay between the hand's organic shape and the geometric structure provided by the sleeve’s cuff. Also, notice how he has worked with that area directly behind the hand to ground it into the paper itself. Do you see an emotional intention being delivered via visual elements alone? Editor: Maybe vulnerability, with that very pale hand... It makes me want to see what else the artist made, if there is some symbolism, even hidden... Curator: Resist the urge. Instead, appreciate the sheer technical skill and the conscious arrangement of line, form and texture that is contained within. It exists purely on its own merits, an elegant and complete visual exercise. Editor: I guess it’s nice to see something not just “beautiful,” but about form in a specific way. Curator: Exactly. And remember, formal elements offer a foundational basis to understand a more intricate piece.