Zuidzee-eiland 3 1936

Editor: Looking at Hendrik Nicolaas Werkman’s “Zuidzee-eiland 3” from 1936, painted with what seems to be watercolor and possibly oil pastel, I’m struck by how dreamlike it feels. The figures are so gently placed in the landscape; they feel ghostly. How do you read this work? Curator: Werkman's “Zuidzee-eiland 3” provides a glimpse into the cultural anxieties surrounding primitivism in the pre-war period. Note how Werkman uses broad swathes of color to depict figures, barely individualized, inhabiting a somewhat generic “South Sea Island” – the title itself translates to “South Sea Island 3”. Editor: What anxieties are at play here? Curator: Well, the early 20th century saw European artists, writers, and thinkers grappling with the romantic idealization of so-called ‘primitive’ cultures versus the realities of colonialism. Werkman, working in the Netherlands, a nation with its own colonial history in Indonesia, presents an intriguing take. The almost transparent figures perhaps symbolize the fragility of indigenous cultures encountering external forces. Consider how the flattening of perspective might de-emphasize a hierarchy, blurring lines of cultural dominance, which was common for the imagery of that period. Editor: So it's not necessarily a straightforward celebration of an island paradise? Curator: Precisely. Werkman invites us to reflect on the colonial gaze. This artwork doesn't offer escapism, but rather a visual questioning of cultural exchange. Also the visual nature of printing is present: can you describe this piece as an illustration? Editor: I see your point. I appreciate knowing that the context changes how I interpret the visual nature and the watercolor itself: at first, I assumed this work was about harmony. Curator: Right, that also brings a sense of peace. Understanding art through the lens of history allows us to decode these visual arguments!