Abklatsch van de krijttekening op pagina 5 c. 1886 - 1891

Curator: Let's turn our attention to "Abklatsch van de krijttekening op pagina 5," a drawing by Willem Witsen, likely created between 1886 and 1891. It resides here at the Rijksmuseum. Editor: It’s understated. The texture of the paper dominates; the marks left on it are ghostly traces, hardly there. Curator: "Abklatsch" means something like "blot" or "impression." This is the trace left from a previous chalk drawing on another page of the book. Consider the value of these ephemeral studio moments—the artistic process itself rendered as the final work. Editor: Yes, the notion of "trace" here is so potent. We see artmaking exposed; this particular act becoming an exhibit itself, questioning traditional concepts. Was the paper expensive, the pigments rare? Witsen uses this ordinary resource available in the studio for… what exactly? Practice, experimentation, resourcefulness? Curator: Given that this is housed in a sketchbook, it was definitely for private purposes, though intended for public view much later. The sketchbooks served as idea repositories, constantly reused; these were spaces for developing sketches or compositional structures that would evolve to be standalone pieces. Editor: So, in exhibiting this piece, are we inviting the audience into a specific social setting that might feel exclusionary to a general viewer, perhaps requiring insider knowledge of atelier practices or elite artistic education? This piece pushes back against notions of skill in draftsmanship—rather it frames accidental creation or incidental use. Curator: Good point. The apparent casualness defies expectations, certainly when considering art from the late 19th century. Perhaps the museum presents work to examine its role in the creative processes of a particular time or as evidence of changing aesthetic philosophies. It is in dialogue with those established forms, perhaps. Editor: Perhaps so. For me, this "Abklatsch" highlights the tangible conditions inherent to art creation, from the artist's decisions to studio access, while subtly questioning standards used in valuation in established exhibition programs. Curator: An unconventional note on which to end our segment, I think. It invites inquiry. Editor: Indeed. I hope visitors reflect upon these questions and leave looking closer at every line and every sketch.