Konijnen 1896

Curator: Here we have Carel Adolph Lion Cachet's "Konijnen," or "Rabbits," created in 1896. It's an ink drawing currently held in the Rijksmuseum. Editor: There’s something primal about it, wouldn’t you say? The spareness of line, the intense black ink on the white paper... it evokes cave paintings, a very direct representation. Curator: Precisely! And when we consider Cachet's background as a designer, it becomes more compelling. This wasn’t intended as a high art painting, necessarily, but rather as an exploration of form. An animal study through the lens of graphic design, you could say. How do you capture the essence of "rabbit-ness" with the fewest possible lines? Editor: Yes, the formal elements definitely highlight this aim. Look at the contrast. The large looming animal on the left versus the smaller rabbit to the right is just genius! Curator: That dramatic ink, so thick in places, creates depth without shading, challenging notions of artistic "skill" or finish. What story does this raw application of pigment reveal about its production, about Cachet himself and available materials at that time? Editor: I’d respond that Cachet clearly utilizes specific line weights. Thicker lines define form, while thinner strokes delineate contour. It produces movement, it enlivens, a simple and lovely result. Curator: And I think the subject itself must be taken into account! Rabbits as workers. Animals held by their master. The animal’s fur as an element of commercial desire. The political system of Cachet's world plays in to how we view his production and these rabbits. Editor: Indeed. What this shows us is the interplay between form and content and this, ultimately, deepens our engagement. The dynamic between light and shadow evokes mood that invites deeper contemplation. Curator: What is made and what is its means! Editor: What the form reveals! Thank you.