Twee vrouwen, mogelijk naaisters 1875 - 1934

Editor: So, here we have Isaac Israels' "Twee vrouwen, mogelijk naaisters" – Two women, possibly seamstresses – made sometime between 1875 and 1934. It's a drawing, likely graphite on paper, and it feels incredibly immediate and informal. I'm curious, what's your perspective on this piece? Curator: As a materialist, I'm drawn to consider the *means* of production visible here. Look closely at the hurried application of graphite. Israels isn’t presenting a finished, polished product but, rather, documenting a process. Who were these women? Likely laborers engaged in the repetitive, often unseen work of garment production. Editor: So you're saying the sketch-like quality is important? Curator: Absolutely. The "sketch" foregrounds labor. Where would these sketches have been made? In a personal sketchbook. Who has access to sketchbooks? Are we looking at an element of class here? I also wonder about the social context: how does Israels' work reflect or challenge the established art world's valorization of "high art" over depictions of everyday labor and, especially, *female* labor? Editor: That's a perspective I hadn't fully considered. I was focused on the intimacy of the scene, but thinking about the labor involved and Israels' choices regarding materials changes my view. Curator: Exactly. We might even speculate: how were garments made and consumed during this time, and what was Israels trying to express in recording that act of production, through the means of rapid graphite application in the form of a loose sketch? This expands our understanding of his work to material analysis, the system of working, and social context. Editor: I’m definitely walking away seeing the image with new eyes. I appreciate you framing it within a discussion about labor and artistic production.