Studie van een kinderhoofd 1710 - 1767

Editor: We're looking at "Studie van een kinderhoofd," or "Study of a Child's Head," a drawing by Leonard Schenk, dating roughly from 1710 to 1767. The medium seems to be engraving on paper. What immediately strikes me is the incredible detail achieved with what seems to be only lines. What do you see in this work? Curator: Primarily, I am drawn to the interplay of line and form. Consider the hatching technique used to create the illusion of volume and shadow. Observe how the density of the lines varies to define the contours of the face and the soft curls of the hair. It’s through this masterful manipulation of line that Schenk achieves such a remarkable sense of depth and texture. Do you notice how the direction of the lines contributes to the overall sense of movement? Editor: I do, now that you point it out! The lines in the hair swirl and curve, while on the face they seem more structured, defining the bone structure. Does the precise use of line suggest anything about the artist's intent? Curator: It suggests a deep understanding of form and a commitment to meticulous observation. Schenk's focus appears to be less on capturing a specific likeness and more on exploring the formal possibilities of line as a means of representing three-dimensional space on a two-dimensional surface. The engraving exemplifies how a study of pure form allows viewers to investigate principles of representation, perception and illusion, inviting closer examination of artistic methods. Editor: So, even though it’s a portrait, the focus isn't necessarily on *who* is portrayed but *how* it's portrayed? That makes me consider drawing in a whole new light! Curator: Precisely. The subject matter is secondary to the formal concerns. Through rigorous technical ability, it allows for broader exploration.