Fernande with Arms Crossed, Large Plate (Fernande les mains croisees (grande planche) 1923

Andre Dunoyer de Segonzac made this etching, Fernande with Arms Crossed, with ink on paper. The energy in the marks brings to mind how much artmaking is a process of layering—of adding, but also of taking away. Look at the way the lines build up around Fernande’s eyes, creating depth and shadow. Then notice how the lines become more spare and open as they move down the body of the figure. This isn’t just about rendering a form; it’s about activating the surface. Consider how the cross-hatching in the background creates a vibrating texture, almost like a haze. It's a stark contrast to the clean, deliberate strokes that define Fernande's face. This tension between control and chaos is what makes Segonzac's work so interesting. The etched line embraces the accidental, the imperfect. It shares a sensibility with artists like Picasso. Both artists invite us to see the world as a collection of fragments, always in flux.