Old Books 1920

Editor: Here we have Martin Petersen's "Old Books," an etching from 1920. There is an evocative feeling here, almost somber. Two figures pore over books. What draws your eye in this piece? Curator: Initially, the densely hatched lines create a sense of depth and texture. Consider how the artist employs cross-hatching to define the forms and to sculpt the figures out of the flat plane. The light appears to fall predominantly from the left, causing stark contrasts and highlighting the men's focused expressions. Do you notice the economy of line in defining their faces, versus the more elaborate texture of their garments? Editor: Yes, I see it. It gives them a certain seriousness. Is there a narrative implied by these visual choices? Curator: The narrative is inherent within the composition itself. Petersen juxtaposes the active scrutiny of one figure with the contemplative pose of the other. Observe how the space between them is a dark field. Do these elements, like chiaroscuro itself, suggest opposing psychological states unified by shared intellectual pursuit? The act of reading becomes, therefore, not only a subject but also an element within a greater compositional scheme. Editor: So it is almost like a dialogue just from the construction of light and form, really focusing on what’s literally on the surface. I hadn’t thought of that. Curator: Precisely. Focusing on the relationship between forms, line and light yields insightful meanings, rather than external narratives or biographical information. The work prompts one to actively engage with the artist’s aesthetic strategy. Editor: That's given me a whole new way to think about the piece; to not consider symbolism first, but technique. Thank you.