The Prince of Aquitaine c. 1950

Editor: This is Elisabeth Collins' painting "The Prince of Aquitaine," currently at the Tate. The blocky brushstrokes give the prince a kind of haunting, fragmented presence. What do you see in its formal construction? Curator: The artist employs a restricted palette, predominantly greens and browns, which creates a sense of enclosure. Note how the angularity of the facial features is echoed in the hat and collar; what effect does that create for you? Editor: It feels very deliberate, a structural reinforcement of the subject's character. I also see how the paint application seems almost sculptural. Curator: Precisely. Consider how the impasto technique emphasizes the materiality of the paint itself, drawing our attention to the constructed nature of the image. Editor: It's fascinating how the formal elements contribute to such a complex representation. Curator: Indeed. By focusing on these intrinsic qualities, we gain a deeper appreciation for Collins' artistic vision.