Staand jongetje, van achteren gezien Possibly 1631

Editor: This is "Standing Boy, Seen from the Back," a pencil drawing from possibly 1631 by Gerard ter Borch II, held here at the Rijksmuseum. It's fascinating how much personality is conveyed even though we can't see his face. What symbolic significance might this choice of perspective hold? Curator: It's a loaded image. Notice the almost theatrical costume, particularly the elaborate coat and the broad-brimmed hat. In Dutch Golden Age painting, clothing wasn't merely practical; it broadcast status, aspirations, and moral leanings. Seeing the boy from behind, what emotions does it evoke in *you*? Editor: I feel a kind of detached curiosity, almost like I'm observing a scene I'm not a part of. Is this distance intentional, a common trope of the time? Curator: It absolutely could be. Consider the emphasis on decorum and social hierarchy in the 17th century. Children, especially, were often depicted as miniature adults, their roles clearly defined. The obscured face encourages viewers to consider the boy’s societal role and potential destiny more than individual identity. Does the specific placement or details within the composition affect the boy's role in Dutch society? Editor: The buttons down the back of his coat are very striking. It's such a formal, almost constricting, style of dress, but at the same time, vulnerable. Curator: Precisely! Think about what isn't shown. By denying us the boy’s gaze, ter Borch directs our attention to these sartorial signifiers. He prompts us to ask ourselves: What is hidden? What expectations are placed upon him? What memories do these outfits hold for his family and his culture? Editor: It's amazing how a simple sketch can open up so many avenues of interpretation. Now, when I see his averted gaze, I find a kind of power that arises from my projections of myself onto him, his family and his culture.