Writing Desk 1939

Editor: Here we have Carl Buergerniss's "Writing Desk," made in 1939, using watercolor and charcoal. I’m struck by the geometric shapes. The slanting top, rectangular drawers and overall solidity give the piece a sense of order. What visual elements stand out to you? Curator: The piece, indeed, showcases a rather interesting interplay of line and form. Note how Buergerniss uses hatching to define the surface of the wood grain, almost as if trying to transcribe a three-dimensional object into two dimensions. Do you observe the repetition of the rectilinear form? Editor: Yes, the repetition is quite obvious but very satisfying. How would you interpret its effect? Curator: The repetition emphasizes functionality. It also establishes a rhythmic visual beat that underscores the desk's architectural qualities. And how do you feel about the rather muted colour palette, the ochres and browns? Editor: I find it interesting. These muted colours draw our eyes directly to the forms and textures instead of getting distracted by bold colours. I think without that it would be too loud and less serious somehow. Curator: Precisely. The subdued palette highlights the artist's exploration of light and shadow. How do you perceive the negative space around the object, its relation to the figure? Editor: Now that I look closer, I notice the object has so much empty space around it! By simplifying the background so much, the piece becomes very clean and neat, avoiding distraction, while creating something interesting. Curator: Precisely. It focuses the piece purely on the exploration of form and surface. I am now seeing new sides of the artwork. Thank you for these valuable insights! Editor: This was interesting, I feel I know a lot more about looking at forms thanks to the colour and geometrical analysis.