On the Way to Bessemer 1909

Editor: Here we have Joseph Pennell’s 1909 etching, "On the Way to Bessemer," currently housed at The Art Institute of Chicago. It’s an intricate city scape; I’m immediately struck by its industrial mood and the complex network of lines. What can you tell us about this piece? Curator: Consider how Pennell manipulates line and texture to create depth. Notice how the density of lines increases toward the background, particularly in the depiction of the factories and smoke, effectively receding into space. How do you interpret the effect of the verticality implied by the chimneys in contrast with the horizontality of the train tracks and bridges? Editor: I see a contrast! The chimneys suggest power and release, while the horizontals feels like grounded movement and stability, perhaps? Curator: Precisely! Furthermore, analyze the role of light and shadow. The selective inking and wiping create highlights that draw the viewer’s eye through the composition, and these accents aren't random, they highlight structural form. Do you find an expressive element within the technical mastery evident here? Editor: Yes, I see that. Initially, I thought it was simply documenting a scene, but the contrasting lines and deliberate placement of light create a dialogue between industry and nature, even if the natural elements are subordinate to the heavy plumes of smoke. Curator: Yes, and those heavy plumes of smoke and vertical stacks overpower and define the perspective; nature barely exists! Now, think of it in terms of geometric construction and consider what message is being communicated from this rigid architecture? Editor: I had not looked at it this way at first, but now I recognize how form, light, and shadow work together to create a very strong artistic and emotional statement. Thank you. Curator: My pleasure. The ability to examine formal components grants us access to previously overlooked meaning and is why an initial formal evaluation matters.