Candlestick c. 1936

Janet Riza made this drawing of a candlestick on paper, sometime in the 20th century. What catches my eye is the way she’s really thinking through the form, the volume of the candlestick, using a simple palette. It’s like she's feeling her way through the object. The drawing isn't just flat representation; it has a kind of sculptural presence. You can almost feel the cool, smooth texture of the metal, especially in the way she’s rendered the light hitting the curved surfaces of the base. Look at the subtle gradations of color, how she uses darker shades to define the shadows and lighter tones to highlight the reflective qualities of the metal. And that little handle detail—it gives the whole thing a sense of purpose, like it's ready to be used. I can see echoes of Giorgio Morandi in Riza's work, in his still lifes of bottles and jars. Both artists share a fascination with the subtle nuances of everyday objects and their ability to evoke a sense of quiet contemplation. It reminds us that art isn’t just about grand gestures; it's about really seeing.