Viborg sø 1902

This is Johannes Groth’s Viborg sø, a landscape etching where he's really thinking through the printmaking process. It's all about mark-making, isn’t it? A zillion tiny lines, all accumulating to create these murky reflections in the water. Look at how the etched lines build up into velvety blacks, especially in the mass of trees on the horizon. You can almost feel the burr of the drypoint, giving it a tangible, physical presence. Then compare that to the sky, where the lines are much more sparse, creating a sense of airy lightness. Notice how the reflections in the water aren't exact mirrors. They're loose and gestural, capturing the essence of reflection rather than a literal depiction. It’s like Groth is reminding us that seeing is an active, interpretive process. This piece reminds me a bit of Whistler’s nocturnes; a similar interest in capturing fleeting atmospheric effects with a limited tonal range. Art isn't about answers, right? It's about the ongoing conversation, the questions we ask, and the spaces we create in between.