Twee mannen bij afgrond 1864 - 1902

Curator: I find this drawing by Jeremias Adriaan Adolf Schill, titled “Two Men by an Abyss,” to be a captivating snapshot of a bygone era. Dating from 1864-1902 and crafted using pen and ink, it presents us with a quiet but intense moment. Editor: My first impression is that it feels unsettling. There's a stillness to the composition that hints at underlying tension. Is it the sketchy linework that makes it feel precarious, like any moment might send those figures tumbling over? Curator: It’s fascinating how such a seemingly simple genre painting, in the vein of a portrait even, can evoke such unease. Think about the social climate of the time – anxieties about industrialization and humanity’s place in nature were definitely swirling around. Perhaps this scene acts as a metaphor for such instability? Editor: Absolutely. I see the figures as archetypes caught between worlds, especially the man with his arms raised. It evokes a performative act—a constructed display of alarm or vulnerability that seems oddly theatrical when examined. I wonder if Schill intended a subtle critique of masculinity and societal expectations. Curator: An interesting perspective. These men were more than likely engaging in a common form of leisure in this period, walking through natural landscapes, which often contained hidden industrial spaces or encroached on native lands. Such class display cannot be easily disregarded, especially knowing this work is now a part of the collection here at the Rijksmuseum. Editor: And seeing it here shapes our understanding today! It challenges the romanticized narratives we tend to construct about nature and human interactions. It begs us to think critically about those are represented and how, and at what cost to others or the environment it has come to be. Curator: Indeed, its ability to raise such profound questions, so succinctly, makes "Two Men by an Abyss" much more than a simple drawing. It encourages us to reconsider art’s potential in examining class display and society at large. Editor: Yes. I’m taking away with me a much greater sense of depth than I initially anticipated with these characters frozen on the page, facing this existential drop.