Two studies for Saint Ulrich of Augsburg 1500 - 1510

Editor: So, this is “Two studies for Saint Ulrich of Augsburg” by Hans Burgkmair, created sometime between 1500 and 1510. It's a drawing, and looking at the sketched lines, you can almost see the artist at work. The lines seem to capture a sense of movement despite the stillness of the figures. How would you approach interpreting this work from a formalist perspective? Curator: I find the dynamism within these preparatory sketches particularly compelling. Burgkmair's employment of line—observe how it varies in weight and direction—serves not merely to define form but to delineate spatial relationships. The hatching and cross-hatching techniques are not haphazard, but systematically employed to create a tonal range that suggests volume and depth, even on a relatively flat plane. Editor: So, the way he uses the lines themselves creates depth and space? It’s almost abstract in a way, considering the subject matter. Curator: Precisely. Note the angularity and sharpness of the lines around the face and garments in comparison to the smoother curves that suggest the folds of fabric. These stark contrasts function as critical components within the work's structural organization. These oppositions create a visually stimulating rhythm, compelling our eye to move across the composition. How do you think the texture of the toned paper affects this visual organization? Editor: I see what you mean; it’s like the roughness of the paper adds another layer to the shading and makes it less uniform, which somehow makes it more realistic. I hadn't thought about the paper itself contributing so much! Curator: Exactly. One can understand that every formal choice impacts our reading and aesthetic experience. Looking carefully at composition can really bring to light artistic choices. Editor: This approach really encourages close looking. I’ll be paying more attention to the materials and techniques moving forward!