Ornament c. 1901

Editor: We're looking at a sketch by Gerrit Willem Dijsselhof, simply titled "Ornament," made around 1901, with ink and pencil on paper. The simplicity of the lines and shapes makes it so striking. What catches your eye in this work? Curator: The line itself. Dijsselhof’s conscious manipulation of line – its thickness, its direction, its relationship to other lines – reveals the fundamental structure he is trying to capture. Notice how the vertical lines dominate, creating a sense of height and perhaps aspiration. Editor: Yes, I see that now! It feels almost architectural. Curator: Precisely. Consider also the negative space. The void surrounding the lines is as crucial as the lines themselves, contributing to the overall balance. Dijsselhof understood the power of absence in defining form. How would you describe the quality of the line itself? Editor: Well, it seems confident, fluid… but also tentative in places, like he's exploring possibilities. Curator: Indeed. This tension between confidence and hesitation is crucial. The subtle variations disrupt any sense of rigid perfection, and invites the viewer's eye to investigate closely the planes established in the artwork. The material properties too invite such consideration – notice the faint presence of pencil strokes. Editor: It’s fascinating to think about how much intention can be packed into something that appears so minimal! Curator: A testament to the power of formal analysis. By focusing on these elements, we can unlock new ways of thinking about line, form, and structure, not just in this work but more widely. Editor: This has really made me think about how I see sketches; looking beyond their perceived ‘simplicity’ is actually quite profound.