Paul Cadmus: Y. M. C. A Locker Room, 1934

Paul Cadmus – Y.M.C.A Locker Room, 1934 Paul Cadmus’ Y.M.C.A Locker Room exuberates a skilled hand similar to much earlier works by Adriaen van Ostade and Rembrandt. Upon first observation, this 6 3/8 x 12 5/8 inch, black and white etching on paper would appear to be a highly detailed pen drawing. A closer look would reveal that each element is composed entirely of carefully positioned lines. Lines that are so precise, that even at a viewing distance of a few a feet, they seem to fade away and take a diversity of forms. As the title suggests, the scene is that of a Y.M.C.A locker room. Fifteen figures, four benches, and a slew of lockers occupy the space of the locker room. The figures are varied in size and in age and are scattered
The lines of the figures are gradually varied in distance between each other in order to create a realistic shading for the characters. The lines within the room itself accomplish a similar feat by giving the room depth. One of the objects that I personally find to be an interesting choice, is the long, horizontal lines of the floor of the locker room. Many artists who use this perspective, including myself, rarely implement a two dimensional floor in three dimensional style. However, I believe that it that the floor helps all of the other objects occupy the space more efficiently. Even the shadows, created by the characters, seem to had a blurry edge to them akin to the shadows casts real objects. These lines are created in a couple of different ways. One of which is by the lines created by the objects. The line of the figures help keep the image active, the lines in the ceiling craft a space for the other objects to occupy, and the lockers and benches generate a pictorial rule of thirds which helps keep the composition visually appealing. All of which helps a seemingly over crowed masterpiece seem well spaced and balanced. The second use of line is formed by the actually etching process
Reducing the space between the lines helps create a depth of field. The closer that the strokes are together, the darker the space. The further that the lines are apart, the lighter the area. Cadmus shows his knowledge of the human anatomy by using these darker, close lines to articulate muscular movement within each individual. The darkest part of the entire composition is the front facing portion of the lockers which the characters are balanced against. This, and the use of shapes, creates a definite distinction between the front and the back of the locker room.
In general, the composition is both unique and technically interesting. As a graphic designer I have the luxury of being able to duplicate, reshape, move, crop, adjust thickness, look on the internet for help, and create lines with ease. Therefore I can appreciate how much effort goes in to making each line physically by hand. The objects are consistently proportional and Cadmus’ ability to make them fit perfectly together, like a well-constructed puzzle, is