Study for Rhythm of a Russian Dance 1918

Editor: We’re looking at Theo van Doesburg’s “Study for Rhythm of a Russian Dance” from 1918. It’s a drawing made with pencil. It’s…very skeletal. Like a blueprint or maybe the underlying structure of something. How would you interpret this work? Curator: From a materialist perspective, I see an exploration of the means of artistic production. Look at the bare pencil strokes. Van Doesburg is revealing the artist's process. We see a breakdown of form to its basic components through the very direct use of humble materials. He’s questioning the traditional hierarchies that place painting above drawing. What do you make of that decision? Editor: I suppose by stripping the image to its essence, focusing solely on line, he eliminates any pretense. It emphasizes the underlying structure, making the viewer confront the fundamentals of the artwork’s construction. Curator: Exactly! And this reflects De Stijl's utopian goals. The artist sought to find a universal visual language based on simplified geometric forms that reflected a supposedly harmonious modern world. Editor: I can see that. I hadn't initially thought about its connection to utopian ideals but framing the work in its time makes perfect sense. I realize I hadn't considered the "how" nearly as much as the "what" until now. Curator: It also encourages us to consider who benefits from this simplification. What labour went into the sourcing and creation of those lines? Editor: It’s interesting to consider the connection between abstraction and labour; I will keep that in mind from now on! Thank you! Curator: Absolutely! Considering the social implications of art making always brings new insight.