Inneres einer dreischiffigen gotischen Hallenkirche mit Blick auf den Chor c. 1793

Editor: We are looking at "Inneres einer dreischiffigen gotischen Hallenkirche mit Blick auf den Chor," a drawing in ink on paper by Johann Ludwig Ernst Morgenstern, around 1793. I'm immediately struck by the grandeur of the architecture; the soaring arches and the delicate details feel so imposing. How do you interpret the artist's use of perspective in this drawing? Curator: The perspective is indeed central to its effect. Note how Morgenstern employs a rigorous, almost scientific approach to rendering space. The converging lines of the architecture draw the eye relentlessly towards the distant choir, creating a powerful illusion of depth. Do you observe any instances where the orthogonal lines might deviate from perfect convergence? Editor: I think so; near the base of some columns, there’s some distortion of perspective. Curator: Precisely! That is where the artist injects a degree of subjectivity and disrupts what could be a purely mechanical exercise. It seems to invite us to question the supposed objectivity of linear perspective itself. It challenges viewers to engage critically with the construction of pictorial space. Consider the implications this has on your viewing experience. Editor: It makes me wonder if he was prioritizing realism over expression, or expression through a realistic style? Curator: Indeed. The interplay between representation and formal design suggests a nuanced understanding of the picture plane. The deliberate flattening of certain elements encourages viewers to consider the work not only as a depiction of a real space, but also as an intricate pattern of lines and tonal values. And that challenges us to really understand this. Editor: I didn’t quite see it that way initially, but now I appreciate how the architectural forms contribute to a complex visual experience.