Large Pendant 

Editor: We are looking at "Large Pendant," a print by Daniel Mignot. It's a delicate, intricate image of a pendant rendered in what looks like pen and ink. I’m struck by the level of detail achieved in a relatively small composition. How do you approach a work like this? Curator: Indeed. From a formalist perspective, we can consider the interplay of line, form, and the illusion of three-dimensionality. The precise rendering of each component contributes to an overall aesthetic of lavishness. Note the use of symmetry. What does the axis of symmetry evoke to you? Editor: It gives it a sense of balance and maybe elegance? Is it intended for purely decorative or is it intended as a symbolic representation of courtly love or other themes? Curator: While those themes may certainly exist, the elegance to which you refer inheres more so within the geometrical structure. We might ask what the proliferation of embellishments contributes to the image as a whole? Editor: It almost feels excessive. Like the artist is showing off their skill with tiny details, the ribbons, the gemstones. It all seems deliberately constructed to impress the viewer. Curator: Precisely. Observe how Mignot employs contrasting textures and varied densities of line work to delineate form and create depth. There is the stark black ink of each mark offset by the expanse of open space and, when considered alongside the artist’s skill, it creates this sensation of luxuriance to which we've both alluded. Editor: This has certainly provided me with a more attentive way of considering the artwork. I suppose it's an approach I'll try using as I consider all the different art styles in the future. Curator: Remember: Formalist methods compel us to acknowledge the innate aesthetic value. Every decision regarding composition informs not only this object, but it has the potential to reshape all the aesthetic endeavors of visual language to which one engages.