Landskabsstudie 1928 - 1932

Editor: We're looking at "Landskabsstudie" by Edvard Weie, created sometime between 1928 and 1932. It's a watercolor drawing. It strikes me as very ephemeral, almost like a memory of a landscape rather than a direct depiction. What do you see in it? Curator: I am immediately drawn to the structure of the composition. Weie has segmented the picture plane into distinct horizontal zones, which calls attention to the materiality of the paper. Note the various densities of the washes: they function as color and texture, which seem to operate independently of one another. It invites us to consider not only what is depicted, but also how it is depicted. Editor: I noticed those zones too! It's almost like a triptych, but laid out horizontally. It also creates this intriguing flat depth. Does that choice of color and segmentation connect to the landscape tradition that Weie is engaging with? Curator: Precisely! The flatness is key here. Rather than conforming to traditional perspective, Weie emphasizes the two-dimensionality of the artwork. The subtle color modulations suggest a spatial recession, but ultimately defer to the surface quality. To think of it in the context of tradition: is this artwork breaking it or continuing it? Editor: Well, I suppose it's doing both. There's a clear nod to landscape painting, but the focus seems to be more on the formal elements – color, line, texture – than on creating a realistic scene. It is not striving for a picture window-like view, but a contemplation. Curator: Indeed. The power of this "Landskabsstudie" resides in its visual interrogation of representation, moving us from mere depiction toward the intrinsic language of art. Editor: This conversation has totally reshaped my understanding. I thought I was looking at a landscape study, but it is also so much about form itself. Curator: Agreed. And by considering those formal aspects, we gained a much deeper appreciation for Weie’s artistic choices.