Portret van een man en een mouw met hand by Petrus Johannes van Reysschoot

Portret van een man en een mouw met hand 1710 - 1772

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drawing, paper, pencil

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portrait

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drawing

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amateur sketch

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toned paper

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light pencil work

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pen sketch

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pencil sketch

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figuration

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paper

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personal sketchbook

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ink drawing experimentation

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pencil

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sketchbook drawing

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sketchbook art

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fantasy sketch

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rococo

Curator: Immediately, I’m struck by the ephemeral, almost dreamlike quality of this image. It feels as if the artist captured a fleeting thought. Editor: You’ve keyed in on the central theme, I think. Here we have Petrus Johannes van Reysschoot’s "Portrait of a Man and a Sleeve with Hand," believed to have been made sometime between 1710 and 1772. Note the material, paper worked with pencil, manifesting as sketchbook art. Curator: Sketchbook art...so inherently personal. The detached sleeve—is it a commentary on fragmented identities? Are we meant to consider how social roles confine the individual? Editor: Or perhaps it's just that, a sleeve. Consider the Rococo influence: playful asymmetry, light pencil work to achieve a sense of elegant informality, a concentration on surface appearance... the lines dance across the page, light and unburdened. Curator: I see the aesthetic qualities, definitely. Yet I wonder about accessibility to broader audiences; might this image benefit from contemporary interpretation by the LGBTQ+ community to give an emotional context, highlighting the ambiguity of presentation and destabilized social constructs, in order to appeal to and make art more engaging for modern museum-goers? Editor: I think imposing contemporary social concepts may overshadow the simple act of the artist practicing figure and fabric rendering with tonal variations. This work seems so intimately about visual study; perhaps reading into issues about personal identity or the construction of gender through social interactions seems misplaced? Curator: It can be challenging to accept works solely on formalist terms, especially when they feel evocative of wider sociopolitical struggles, though of course a middle ground can always be sought. It's been a useful exercise to really dig into Van Reysschoot’s aesthetic intention, nonetheless. Editor: And for me as well, really contemplating the possibilities of intersectional readings in pieces not typically considered within those parameters. Thank you.

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