Markhorgeit 1915

Curator: Welcome. Here we have "Markhorgeit," created in 1915 by Samuel Jessurun de Mesquita, currently held at the Rijksmuseum. Editor: Striking. There’s a stark graphic quality to it. The rigid black lines almost vibrate against the off-white ground. It possesses this static yet dynamic tension, doesn’t it? Curator: It does. De Mesquita’s woodcut technique really emphasizes the contrast of light and shadow. Notice how he uses the density and direction of the lines to describe form and texture, especially across the body of the markhor. Editor: Absolutely. And think of the physicality required for such precise cuts. Each groove representing an intentional removal, a collaboration between artist, tool, and wood. The linear abstraction reduces the animal form to essential marks and rhythms. It challenges the very notion of high art. Curator: Quite right. There’s a simplification bordering on abstraction. Look at the frame itself—its rhythmical pattern almost overwhelms the subject, blurring distinctions. However, the markhor's anatomy and even the simple, minimal landscape display an interesting contrast with this pattern. Editor: That pattern pulls focus from the representation of the creature to the process that conjured its likeness. The almost ornamental use of lines speaks not to observation, but more of a calculated assembly of materials, of labor, of a controlled means of production. Curator: I would not dismiss entirely a potential interest for this animal by the artist, but indeed this woodcut serves as an important material witness to art’s production; from the tree to the final product of labour. It shows both craft and skill. Editor: The printmaking process highlights how artists actively reshape the world using modest means and materials. That feels incredibly relevant to today's discussions around art and its purpose. Curator: Indeed, there's a potent lesson in focusing on artistic genesis and form. Thanks for those thoughts.