Still Life, Apples, Grapes n.d.

Editor: Here we have Barton Stone Hays’ "Still Life, Apples, Grapes" painted in oil. It feels very… grounded. The way the forms sit on the fabric, it all feels very tangible. How do you interpret this work through a formalist lens? Curator: From a formalist perspective, the work demonstrates an acute understanding of shape and volume. Observe how each fruit, whether apple or grape, is rendered as a discrete geometric solid. Note the interplay between the circular forms and the contrasting textures achieved through paint application. Editor: So it's less about what it IS and more about HOW it is? Curator: Precisely. We can also consider the deployment of color. Notice the muted tones, almost monochromatic, establishing a somber and serene atmosphere, yes? But it also serves a structural purpose. Editor: The different colors do separate the objects in the picture plane, they almost serve as boundaries. Curator: Precisely. Furthermore, the fabric drapes and folds create linear patterns that interact with the rounded forms of the fruit. The formal relationship of these elements – line, shape, color, texture – is what constitutes the aesthetic essence of this piece. The composition overall lacks a dynamic movement, instead it shows… stillness. What do you make of the tonal gradations across the work? Editor: It gives the painting depth; otherwise, it might just be flat shapes, even cartoonish. Seeing how it's about the elements, would this formal approach apply to art across different movements and cultures? Curator: Indeed. While cultural and historical contexts are important, a formalist analysis aims to identify the fundamental artistic principles operating within any work of art, regardless of its origin. It gives a structure on how to approach the artworks. Editor: I see. Thanks, this helps me to appreciate Hays' manipulation of form, texture and the whole pictorial structure.