Maryse 1929

Andre Dunoyer de Segonzac made this etching, called 'Maryse,' using a network of lines to construct form. What strikes me is how the artist uses mark making to show us a face emerging from the shadows. The physicality of the medium is apparent in the etched lines, some light, some dark, creating texture and depth. The ink is thick in some areas, especially around the eyes and mouth, adding to the intensity of her gaze. Look at how the artist has rendered the hair, a mass of tangled lines that gives it a sense of unruly energy. The lines on her face, though minimal, convey a sense of weight and solidity. It’s like the artist is thinking through the etching process, allowing the medium to guide the way. Segonzac reminds me of other artists like Paula Modersohn-Becker who were interested in exploring the depths of human emotion through portraiture. There’s a sense of ambiguity, a feeling that there’s more to Maryse than meets the eye, that invites us to contemplate the complexities of human experience.