Been 1874 - 1945

Editor: This is a pencil drawing called "Been," created sometime between 1874 and 1945 by Carel Adolph Lion Cachet. I find it fascinating how little detail there is, yet you can still understand the scene. It appears to show someone riding a horse, but everything is suggested, rather than explicitly defined. What do you see in this piece? Curator: This drawing speaks volumes about representation, doesn't it? It challenges the conventional power dynamics inherent in equestrian portraiture. Typically, these paintings reinforce societal hierarchies by glorifying the rider, often a figure of authority. Here, however, Cachet focuses instead on the act of riding. Consider the context: from the late 19th to mid-20th century, the colonial equestrian carried associations with authority and land ownership. How might this more pared-down presentation serve as a commentary on these histories? Editor: So you're saying the lack of detail might actually be a statement about power? That by not fully defining the rider, Cachet is questioning the traditional image of authority? Curator: Precisely! He seems less interested in celebrating individual power and more in examining the activity and perhaps the changing status associated with it. Notice, too, the use of pencil, a more accessible medium compared to oil paints, used mostly by the upper classes. Who has access and why? Is this a shift in visibility and presentation? I wonder, does the fleeting nature of a sketch suggest a loss of power as well? Editor: That's such an interesting take! I hadn’t thought about the choice of medium as being potentially politically charged. Curator: The artist's choices—the sketchy lines, the medium, the ambiguous representation—all contribute to a dialogue around representation and power. Considering the historical context and societal norms that influence equestrian imagery, what does "Been" bring to the table? Editor: Well, I'm definitely seeing it in a new light now! I came in thinking it was just a simple drawing, but now I see how it could be a commentary on representation and societal structures. Curator: And that, my friend, is why context is everything! Keep questioning what you see, and never underestimate the power of art to challenge the status quo.