Zittend mannelijk naakt, van opzij gezien (3e prijs 1780) 1780 - 1782

Editor: We’re looking at “Zittend mannelijk naakt, van opzij gezien,” or “Seated Male Nude, Seen from the Side,” a pencil drawing by Wouda Piera, created around 1780. I’m struck by the intense musculature the artist has captured, and how the figure is confined by these rather rigid cubic forms. How do you approach a drawing like this? Curator: Well, first and foremost, one must appreciate the meticulous handling of line and form. Note the controlled, almost scientific precision in delineating the contours of the male figure. How does the artist use value, the gradation from light to shadow, to create a three-dimensional effect on a two-dimensional surface? Editor: It seems like the shading really emphasizes the way the light catches the muscles. It makes them look incredibly defined. Curator: Precisely. Consider also the stark contrast between the organic, flowing lines of the human figure and the geometric rigidity of the blocks. What tension does this juxtaposition create for the viewer? Editor: It feels a little uncomfortable. The soft curves are interrupted by the hard edges. Is that contrast intentional? Curator: Undeniably. It encourages us to contemplate the very structure of representation, the process by which the artist translates three-dimensional reality onto paper using abstract, formal elements. What visual relationships can you detect between the figure and its support? Editor: I see that the artist carefully positioned the blocks in such a way as to complement and enhance the lines of the model. The figure truly becomes unified. I see the relationship that is created. Curator: Yes. And, importantly, the figure is only seen from the side. It almost entirely does not offer an opportunity to connect, as the drawing seems to highlight the artist’s technical ability rather than invite emotional connection with the subject. What does this focus tell us about artistic training at that time? Editor: This drawing really makes me think about artmaking in a completely different way, by concentrating purely on how the different elements of art work together.