Sketches after 1863

Editor: We’re looking at "Sketches," a print and drawing by Jean-François Millet, created after 1863. It seems to be graphite and etching on paper. The stark contrasts of light and dark really make it striking. What stands out to you in this work? Curator: The work, primarily an exercise in formal composition, foregrounds the dialectic between positive and negative space. Note how Millet employs a limited tonal range, almost exclusively black and white, thereby emphasizing the abstract qualities inherent within the figurative elements. Consider how the lines create various forms from a seated figure to what may be domestic objects. Editor: I see that now. So, it's less about the story or subject and more about how he uses the shapes and contrasts? Curator: Precisely. We might also contemplate the materiality of the piece itself. The roughness inherent in the etching process, paired with the stark graphite lines, lends the piece an unfinished, almost ephemeral quality. Does this inform your understanding? Editor: It does, actually! Seeing it as a study of form rather than a complete picture helps me understand the sketch-like quality of it and appreciate the relationships of the shapes and dark and light areas, and not try to impose narrative onto it. Curator: Indeed. By attending to the internal dynamics of form and material, we unlock a deeper understanding of the artist's process and intentions, which are focused on pure aesthetics. Editor: This approach gives me so much to consider! I initially thought it was gloomy but now it seems the artist explored a world of pure aesthetic forms, rather than attempting any depiction of outside emotional content. Thanks! Curator: My pleasure. Close formal analysis helps us understand artwork from many periods in a very immediate manner, moving beyond time and period interpretation.