Ein new Modelbuch..., page 11 (verso) 1524

Editor: This is "Ein new Modelbuch..., page 11 (verso)," a woodcut from 1524 by Johann Schönsperger the Younger, currently held at The Met. It's intricate, but also feels really controlled with those sharp black lines against the parchment. I am curious to know what jumps out at you about it. Curator: Immediately, the formal structure captivates. Consider the distinct registers: geometric abstractions juxtaposed with the figurative representation of unicorns, all carefully contained within vertical bands. Note the interplay of positive and negative space – the solid black forms against the light paper creates a dynamic visual rhythm. Editor: The unicorn section is really striking; it has vertical, heraldic symmetry to it, as opposed to the seemingly ornamental patterns on either side of it. Curator: Precisely. The use of symmetry versus asymmetry is critical here. What effect do you think the artist sought to achieve by contrasting these structural approaches? Observe how line quality varies across each register, creating a compelling visual diversity. Editor: I guess the uniformity of the repeating geometric patterns on the left has the function of further emphasizing the unicorn's symbolic heraldry in the middle? The right feels a bit looser because it still has some vertical structure, but is more flowing and open. Curator: An insightful reading. Think about the technical skill required to produce such precise details using woodcut, each line carefully carved and printed. Consider the semiotic weight of this visual vocabulary within its time. How does it function, for instance? Editor: Right, you don't typically see shading with this process. I guess it makes it all about form and negative space! Thank you for highlighting the value of analyzing its visual structure! Curator: My pleasure. It's in grasping those construction strategies that the work ultimately communicates.