Binnenplaats van drukkerij Plantijn te Antwerpen 1848 - 1908

Curator: We’re looking at "Binnenplaats van drukkerij Plantijn te Antwerpen" (Courtyard of the Plantin Printing Works in Antwerp), a print created between 1848 and 1908, by Joseph Maes. Editor: The dense network of ivy against the rigid architecture makes for such an interesting interplay of organic and structured forms! What elements of this print do you find most striking? Curator: Certainly the contrast interests me as well. But I immediately observe the formal arrangement of the building's facade; how the windows are aligned and how the overall composition relies on vertical and horizontal lines to establish order. What is the relationship between surface and depth? Is the ivy purely ornamental, or does it play a more integral structural role in how we perceive the space? Editor: I see what you mean! It almost softens the building's structure. Could this interplay between natural and built environments offer another dimension of meaning to this piece? Curator: It very well might. Consider the balance between light and shadow. Note the way that light reveals certain architectural details while concealing others in darkness. Do the different textural surfaces—stone, foliage—interact to alter the overall impression of depth within the composition? Editor: I hadn’t considered how the surface textures change how the light falls. It does flatten the image somewhat, pulling forward the elements covered in foliage. Curator: Yes. We have been examining how the artist employs composition, texture, and light to create a work of structured contrasts. That will have a bearing on the understanding of its totality. Editor: It’s fascinating to see how closely analyzing the forms unlocks new ideas about the artwork's function! I will be using this approach when reviewing similar prints. Curator: Indeed! Visual vocabulary is critical. Considering visual dynamics encourages dialogue with and through the artwork.