A Madonna 1922

Editor: This is Robert Austin’s "A Madonna," a pencil drawing from 1922. There's something so gentle about it, but also…stark. The composition seems deliberately simple. What strikes you most when you look at it? Curator: I'm immediately drawn to the contrast in textures achieved with the pencil. Observe how Austin uses a delicate hatching to render the soft folds of the Madonna's dress, juxtaposed with the more assertive, almost angular lines defining the figures’ faces. The contrast draws our eyes from surface to form, wouldn’t you agree? Editor: I see that now, how the sharper lines almost seem to sculpt the faces, especially compared to the softer treatment of the fabric. What about the overall composition? Does the arrangement of the figures hold significance? Curator: Absolutely. The pyramidal structure, with the Madonna at its apex, lends a sense of stability and monumentality to the work, despite its relatively small scale. It's interesting how Austin evokes a classical motif, the Madonna and Child, using a modern sensibility. Notice also, the figure of the man seems relegated to the background almost to emphasize her maternal role. Editor: That's a great point about the classical motif reinterpreted. It makes me see the drawing in a new light, balancing tradition and modernity. Curator: Indeed. By dissecting the formal elements, we unravel the complex dialogue between form and content that characterizes Austin's artistic practice. Editor: I am starting to look at these choices of technique and forms differently and more in depth now, considering his approach. Thank you! Curator: You’re welcome! Close visual inspection allows one to view with new eyes and different perspective!