Interieur mit Figuren (Figures in an Interior) [p. 26] 

Editor: This is "Interieur mit Figuren (Figures in an Interior)", a pen and ink drawing by Max Beckmann, possibly from his sketchbook. It feels really raw and immediate. There's a real sense of movement in the lines. What catches your eye in terms of its formal qualities? Curator: Immediately, I'm drawn to the interplay of line and space. Note how Beckmann uses densely packed, angular strokes to define the figures and interior. Consider the spatial relationships; they appear compressed, almost claustrophobic. Do you perceive any deliberate structural choices in the composition? Editor: I think so, the composition is restricted within a rectangular space of the sketchbook page, the lines seem to want to break out from this container, to spill over or create new layers, which is contained instead. Does the medium of ink have something to do with the sketch? Curator: Precisely. The starkness of the ink heightens the sense of contrast, and immediacy as you've stated earlier. Observe how areas of intense hatching create depth and shadow. This is clearly an Expressionist exploration of form, not necessarily focused on realistic representation. Are you picking up on that element in this work? Editor: I can see the distorted figures now, in addition to the emotional, perhaps anxiety-driven element within the strokes. There seems to be both a chaotic jumble, and careful composition going on here. Curator: Excellent observation! The dynamism results from this very tension. Consider the composition: how would it differ were the linework more flowing, less jagged? This artist masterfully manipulated limited materials and space into a statement. What is your assessment overall, now? Editor: I appreciate how a simple sketch reveals so much about form, and how its constraints add impact. Looking at the art’s structure in itself clarified things a great deal, in terms of its construction! Curator: Indeed, analyzing the visual syntax yields valuable insight. Every stroke serves the compositional and emotional imperative of the work, nothing feels accidental.