Bord du lac (Lake's Edge) 1966

Editor: Here we have Gy Szabo Bela’s “Lake’s Edge,” a woodcut print from 1966. The high contrast and linear textures give it a really dramatic, almost stark quality, despite being a landscape. What do you see when you look at this piece? Curator: Immediately, the striking use of line and the deliberate contrast command attention. Note how Bela employs primarily horizontal lines to delineate the water’s surface, a pattern interrupted only by subtle vertical breaks, simulating a sense of depth and movement. Editor: Yes, the lines almost create a tangible surface. And then there’s the burst of lines radiating from the sky - it looks unnatural, like a sun with rays drawn with a ruler. Curator: Precisely. That rigid structure against the softer shapes of the reeds establishes a visual tension. Have you considered how the limited palette reinforces this tension? The dominance of black and white negates color’s potential emotional impact, compelling us to engage primarily with the composition's structure and form. The lack of color and emphasis on line forces us to read the image analytically, almost like a diagram. Editor: I hadn’t thought of it that way, but you're right. It is like analyzing the framework of a landscape, stripping it down to its bare components. It's less about capturing a moment and more about showcasing a designed structure. Curator: It is this deliberate structure and rigorous execution that marks Bela's craft. Every line, every contrasting area, fulfills a clear formal function, moving the artwork beyond mere representation toward a constructed visual argument. Editor: I appreciate how a formalist lens helps to see the power of these lines and the artist's composition. Curator: Indeed. Analyzing its visual language enables a new understanding beyond subject matter.