Public Rejoicing n.d.

Editor: This print, entitled "Public Rejoicing", is a lithograph made by Charles Motte. There's a definite sense of chaotic energy to it. How do you interpret this work, looking at the composition and style? Curator: The energy you mention derives primarily from the dense concentration of figures within a shallow pictorial space. The composition employs a classical Baroque diagonal, ascending from left to right. Observe how this directs the eye upwards. The artist's meticulous mark-making defines individual forms, yet the overall effect remains dynamic rather than static. What strikes you about the artist's use of line? Editor: It’s interesting how much detail he gets with what looks like simple lines! The figures aren’t colored, so all the information has to be within the cross-hatching and etching. I guess it's pretty impressive, but does that make it ‘good’? Curator: Indeed. Line becomes the primary means of delineating form and conveying light and shadow. Notice the varying density of the lines, how they coalesce to create darker values and a sense of depth, however limited. We may consider line not merely as descriptive but expressive, charged with a nervous energy appropriate to the depicted scene. Ultimately, in this evaluation, “good” becomes a function of technical mastery and expressive power within the chosen medium, doesn’t it? Editor: I see what you mean! I had just been viewing this in a pretty basic way, focusing on the subject; looking at just the lines definitely added new information. Thanks for helping me understand a different way to evaluate the image! Curator: Precisely, it is the synthesis of subject matter and formal execution that allows for a deeper appreciation of artistic intent and effect. It has been enlightening to engage in this analysis.