Stilleven met schenkkan en boeken Possibly 1914

Editor: This is Frans Everbag's "Stilleven met schenkkan en boeken," potentially from 1914. It's a pencil drawing, and the paper has aged, giving it a toned effect. It has such a quiet, contemplative mood. What do you see in this piece, considering its historical context? Curator: The choice of a still life in 1914 is interesting, especially given the backdrop of impending war and social upheaval. I wonder if the artist uses this genre to suggest a retreat into the domestic and intellectual sphere, or if the “stillness” itself is meant to convey something more complex? Editor: That's interesting. A retreat? The pitcher seems precariously balanced on the books. Could that imply a fragility in this retreat? Curator: Precisely. It provokes questions about who had access to these spaces of intellectual retreat, and the political implications that might carry. What kinds of narratives were excluded when these still lifes were made, and how does this choice reflect broader power structures? The books themselves could be considered symbols of power. What do you think about that? Editor: I see your point. It's not just a simple, quiet scene. The choice of objects, and the time it was created, speaks to a larger societal context about who had the privilege to create art, read, and reflect in a world changing so rapidly. Curator: Exactly. Thinking about the gender and class dimensions, for instance, really opens up the dialogue. It's more than just a beautiful drawing; it's a snapshot of a very particular moment. Editor: I'll never look at another still life the same way. Thank you. Curator: And I’m glad we could bring contemporary discussions around intersectionality to bear on art from over a century ago!