Sketches of Baroque costumes and furniture and Gothic architectural details 1861 - 1867

Editor: This drawing by Józef Simmler, created between 1861 and 1867, presents a captivating compilation of Baroque and Gothic motifs. My first impression is its lightness, both literally in the pencil strokes and figuratively in its whimsical juxtaposition of historical styles. Curator: Indeed. The assemblage, while seemingly informal, reveals Simmler’s acute attention to detail. The linear precision with which he renders each element—the elaborate costumes, the weighty furniture, the imposing architectural fragments—highlights the distinct characteristics of both Baroque and Gothic forms. Note how the verticality of the Gothic arch contrasts against the ornamental extravagance of the Baroque chairs. Editor: Thinking about the materiality here, the choice of pencil itself speaks volumes. It’s a humble material, readily accessible, almost democratic in its nature, allowing the artist to rapidly capture and iterate upon these historical forms. Was Simmler perhaps contemplating the labor involved in crafting the originals, maybe juxtaposing it with the relative ease of his medium? Curator: Perhaps. Although, considering the artistic conventions of academic art during this period, I lean more towards interpreting this sheet as a study. The graphic organization creates visual relationships and juxtapositions meant to study each object's formal values. We observe a precise hand mastering the depiction of textures and volumes, a common exercise for artists aiming for historical accuracy within grand compositions. Editor: So you believe this more about elevating pencil drawing as a tool, to be studied as equivalent to those traditional craft skills of furniture making. I can see the value of each sketched object if we look at the image through that lens, since he elevates the image with the academic approach. Curator: Precisely. By bringing together these disparate historical styles and articulating them so clearly through his graphic hand, Simmler's demonstrates artistic skills of both observation and analysis. The entire study acts as preparation towards Simmler's paintings focusing on history, figuration and the renaisance, such as Barbara Radziwiłłówna. Editor: The material constraints of the medium are intriguing but secondary to the forms depicted, now I see them anew, formal analysis helps to illuminate Simmler's focus. Thank you. Curator: And thank you for helping examine those historical roots and their relationship with this sketch as a means. It makes Simmler's motivations easier to discern.