Studies van vinnen 1876 - 1924

Curator: Before us we have Gerrit Willem Dijsselhof's "Studies van vinnen", created between 1876 and 1924. It’s currently held in the collection of the Rijksmuseum. Editor: My initial reaction is of a chaotic, almost frantic energy in these forms. It’s quite a contrast with Dijsselhof's more refined and decorative pieces. Curator: Exactly! The composition reveals a network of intersecting lines and shaded areas that suggest movement and directionality, defying traditional artistic constraints in favor of capturing dynamic potential. Editor: I wonder if the focus on fins suggests something about control and manipulation? Fish fins are of course both propellers and rudders; perhaps these shapes offer commentary on systems of power. Curator: An interesting thought, but I lean towards reading it as a study in form and function. Note how each fin is rendered slightly differently, exploring variations in shape and angle to investigate the interplay of shadow and line. Editor: Perhaps...but even in these studies, there’s the absence of any corresponding animal, implying their separation—as though control might also mean detachment. How can the structure of art transcend, yet at the same time reflect social constructions? Curator: I can’t agree on those particular meanings; however, considering that Dijsselhof made this study to inform another project might bring about those types of themes that you highlight. The point may simply be visual assessment. Editor: Still, I see the unfinished aspect as central to its statement; not merely sketches of things as they are, but of things on their way to being determined, perhaps even weaponized within certain social dynamics. Curator: While I'd analyze it primarily from the point of view of exploring formal innovation, your commentary helps bridge this work to Dijsselhof's broader context. Editor: Right, and to consider our ever-evolving relationship with both the seen and the unseen forces around us.