Hamoir before 1938

Editor: Here we have Jo Bezaan’s pencil drawing, "Hamoir," created before 1938. I'm immediately struck by the almost geometric way the houses and trees are arranged. It's a very ordered, serene landscape. What formal elements stand out to you? Curator: Indeed. Notice the rigorous construction of the composition. The artist employs a consistent textural vocabulary—a careful hatching technique—across all elements, unifying the planes and creating an intriguing surface tension. Observe how this consistency denies the viewer a conventional sense of depth. Editor: So, it's almost flattening the scene? Is it aiming to explore forms rather than perspectives? Curator: Precisely. While adhering to principles of realism, the artist also prioritizes the formal qualities of line and value. The linear perspective, though present, is less dominant than the recurring triangular forms found in the roofs, which echo throughout the drawing. This formal echoing contributes to the piece's serenity. Editor: It’s like the forms are having a visual conversation. I hadn't noticed how carefully Bezaan organized those roof lines! So, would you say the power of the piece comes from that structural simplicity rather than symbolic expression? Curator: That is well-phrased. Although symbolic interpretations are always possible, a Formalist reading directs our attention to the syntax of visual components and how those components function as a self-referential system. Therein resides its primary impact. Editor: I see. I think I appreciate the balance Bezaan achieved—presenting a real scene but through such deliberate, structural choices. Thanks, I've learned to look at this in a different light. Curator: And I’ve enjoyed our exploration of form today; these drawings demand, and reward, close, continued looking.