Fotoreproductie van een schilderij van een winterlandschap met schaatsende personen, door Aert van der Neer by Alexandre (fotograaf)

Fotoreproductie van een schilderij van een winterlandschap met schaatsende personen, door Aert van der Neer before 1891

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print, photography

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paper non-digital material

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dutch-golden-age

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print

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landscape

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photography

Dimensions height 90 mm, width 145 mm

Curator: Here we have a photograph of Aert van der Neer's winter landscape painting. This image is part of a print from before 1891, residing here at the Rijksmuseum. It's remarkable how a photograph captures a painting that in itself portrays a world transformed by the icy embrace of winter. Editor: The reproduction has a curious ethereal quality. A kind of faded grandeur; like looking back on something once cherished but now just a faint memory. It makes me think about the physicality of art and what is lost, or perhaps gained, when it becomes merely a photograph on a page. Curator: It is evocative, isn't it? I'm drawn to the starkness. Winter in art has long symbolized a period of introspection and reflection but within a communal scene, as evinced in the skaters depicted in this piece. What social connections are present in those gatherings on ice, or what hopes for the future in times of hardship does this conjure? Editor: Good question. The materiality of ice skating is also fascinating. To enjoy it requires both environmental conditions and very specific instruments. In thinking about the culture of Golden Age painting and collecting, the winter scenes created popular appetite, too, feeding into a cycle of consumption—even, or perhaps especially, amidst winter's perceived austerity. Curator: That's an insightful point! The visual representation of ice in art is certainly bound up in the conditions of how and why the piece was made. Van der Neer has always represented how we create and see. Editor: Absolutely. Seeing this particular photograph reminds me of our reliance on reproductive methods, from prints to photographs. And it urges us to always remember the actual hands that made things—how objects become invested with the lives and memories of others. Curator: Indeed. The circulation of symbols and themes is an intriguing prospect; the dialogue and interchange happening. Editor: A lovely way to think of these visual relationships! Thank you for joining me today, Curator!

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