Portret van de vrouw van Wilhelmus Johannes Steenhoff, en profil naar links 1873 - 1932

Curator: This portrait, simply titled "Portret van de vrouw van Wilhelmus Johannes Steenhoff, en profil naar links," comes to us from somewhere between 1873 and 1932. We only know that it depicts the wife of Steenhoff. It is created with both pencil and charcoal. Editor: My initial impression is one of quietude. The monochromatic palette, rendered skillfully with charcoal and pencil, lends a serene and somewhat melancholic mood to the subject. Curator: Precisely. The anonymity, oddly enforced through the artwork's lengthy, rather unhelpful title, combined with the subtle shades of gray, invites us to contemplate the societal roles assigned to women during this era and reflect upon their place within the male gaze. She is largely an object for possession as we have little individual agency given to her here. Editor: I'm compelled by the artist's adept use of line and shadow to define her features. The subtle gradations create depth and volume, drawing the eye along the contours of her face and capturing a certain realism through very economic mark making. There's an undeniable tension in her posture. Curator: A tension representative of the constrained existence of many women during that period! Her identity, subsumed within her husband’s name. She has to stand, presentable for everyone while her own individuality is repressed. The profile view itself—side-lined from full frontal engagement—could be read as a commentary on women’s peripheral roles. Editor: I see your point, but the formal elements also hint at a certain inner strength. The firmness of line in the jaw, for instance, or the subtle but definite gaze, despite being in profile. She does appear calm and aware, but also resolute and in some kind of defiance. Curator: Perhaps there is a push and pull; perhaps these two sides are constantly fighting for supremacy in this portrayal and others, especially where societal expectations clash with one's desire to express oneself beyond a predefined, constricted definition. Editor: Yes. In a sense, both interpretations enrich our experience. The technique and composition underscore this very sense of human complexity and inherent, compelling, contrast.