Boer before 1931

This woodcut, titled ‘Boer’ was made by Else Berg, and well, isn't it something? The stark contrast between black and white is so bold, so immediate. It's like Berg chiseled this whole world out of light and shadow. You can almost feel the cut of the knife in each line. The way she’s handled the figure, the Boer himself, with those massive legs and the hunched posture, is so interesting. Each mark matters. Take a look at the fence. It's not just a fence; it's a series of graphic jabs that create depth and texture. The whole composition, with the boat, the figure, the architecture, feels like a stage set. It reminds me a little of the German Expressionist woodcuts, like Heckel or Kirchner, you know, that same directness and emotional punch. But Berg brings her own sensibility, a kind of lyrical edge, to this very physical, almost brutal medium. It's a great example of how artists are in constant dialogue, borrowing, responding, and pushing each other forward.