Studie 1854 - 1914

Editor: We're looking at a pencil drawing titled "Studie" by Albert Neuhuys, thought to be created sometime between 1854 and 1914. It's currently held at the Rijksmuseum. There's something quite calming about its simplicity, almost meditative. What strikes you when you look at it? Curator: Calming, yes! It feels like a fleeting thought, doesn't it? A mere whisper of a landscape captured in pencil. Look at the way the artist uses line weight—almost hesitant in places, firm and definite in others. Do you see how the 'tree' is merely suggested, an impression of foliage rather than a detailed representation? It's as if Neuhuys is trying to capture the very essence of 'tree-ness' rather than a specific tree. Editor: I do. It’s not trying to be photo-realistic at all, it's more about the feeling of a place. Were sketches like this common at the time? Curator: Absolutely. Think of the Impressionists. This piece predates their peak, but you can see similar intentions: capturing light and atmosphere, favoring feeling over fidelity. Maybe it was a practice, maybe he liked plein air, finding truth directly in front of him. I mean, I like to draw a simple doodle sometimes on my to-do list to represent a small little tree on my window. That tree will get drawn just like this; just lines on a tree that shows how i see the world that is also quick. Does that makes sense to you? Editor: That does actually make a lot of sense! A kind of shorthand for seeing, and feeling. So not a final piece, but a crucial part of the artistic process? Curator: Precisely. And perhaps, in its incompleteness, there's a greater honesty. We get to see the artist thinking, working, _feeling_ his way through the landscape. It's beautifully raw, and really speaks a lot. Editor: Well, I definitely see it with fresh eyes now. Thank you for this. Curator: My pleasure, may you have a peaceful night!