Church Tower of St. Médard in Verwik (Turm der Kirche St. Médard in Verwik) [p. 2] 

Editor: This is "Church Tower of St. Médard in Verwik," a pen and ink drawing by Max Beckmann. It’s simple, but I like the strong lines, how they create this very immediate sense of space and form. What do you see in this piece? Curator: Primarily, I observe the artist’s deft use of line. Notice how Beckmann employs varied line weights to articulate depth and volume, even within this rapid sketch. The density of hatching suggests shadow, while the sparse lines define planes receding into space. Observe, too, how the linear construction abstracts the architectural form, distilling it to its essential geometries. Editor: So, you’re saying the real subject here isn’t necessarily the church itself, but the way the artist represents it? Curator: Precisely. The composition hinges upon the interplay between positive and negative space, the dynamic angles and the starkness of the lines themselves. Beckmann here conducts a sophisticated examination into how structure and perspective can be implied, rather than meticulously depicted, through considered graphic marks. Editor: I get it. It’s not just *what* it is, but *how* it's made, how the lines come together to give it that feeling of monumentality, even in such a simple sketch. Curator: Indeed. Reflect upon the effect of this stark contrast; form emerges from the void, illustrating an architectural entity reduced to its linear essence, thus achieving a compelling interplay of light and shadow. The formalist approach encourages this close attention to composition, technique, and form. Editor: Okay, I can really appreciate this sketch a lot more now by looking at it more abstractly! Curator: Hopefully it illustrates that, ultimately, how we engage with an artwork through visual analysis unveils its deeper significance.