The Wee Deil 

Editor: This painting, attributed to George Harvey and titled "The Wee Deil," captures a seemingly candid moment of three children engrossed in some game. The earthy palette lends it a raw, almost documentarian feel, but it's the light and shadow interplay that really draws me in. What strikes you when you look at it? Curator: It is quite interesting to consider "The Wee Deil" purely from a formal perspective. Forget, for a moment, these are children and focus on the composition. Notice how Harvey uses a restricted colour palette, mostly earth tones, punctuated by the vermillion shirt, creating visual focal points. Observe how the impasto of the brushstrokes, particularly in the lighter areas, creates a certain haptic texture. Editor: Haptic texture? Like you want to touch it? Curator: Precisely. This, of course, plays against the smooth finish in other areas. Furthermore, the triangular arrangement of the figures is a classic compositional device, but it's subtly disrupted by the varied heights and postures, adding a sense of informal spontaneity. Tell me, what do you observe regarding the relationship between form and content in this painting? Editor: Well, I see what you mean. Even without knowing anything about who these children are, you can appreciate the tension he’s created, the textures. So is it almost like he's telling a story with just color, light and form? Curator: Precisely. And remember that for a formalist art historian such as myself, "story," "emotions," and "artists" themselves are constructs we seek to deconstruct, leaving only pure, unadulterated form. In this regard, how do you feel the formal aspects, contribute to or distract from a possible understanding of "The Wee Deil"? Editor: That’s a completely different way of experiencing the work, really fascinating. It almost flattens it in a way, stripping back assumptions… while also building something new based purely on visual cues. Thank you! Curator: Indeed, the form *is* the content in Formalism. A worthwhile exploration!