Zelfportret: B-1-1, 3 februari Possibly 1942

Editor: Here we have Cor van Teeseling's "Zelfportret: B-1-1, 3 februari," possibly from 1942, a self-portrait done in pencil. The fragility of the lines gives it a sense of vulnerability, almost like a ghost. What do you see in this piece? Curator: It's precisely that sense of temporal and emotional fragility that resonates. Knowing this was potentially created in 1942 invites us to consider the socio-political context of the Netherlands during World War II. Was van Teeseling's artistic production restricted? Did materials become scarce? The deliberate choice of pencil, a readily available and unassuming medium, could itself be a form of quiet resistance or adaptation under duress. How might the act of self-representation serve as a means of preserving identity when external forces sought to erase it? Editor: That's a powerful thought. The simplicity could be a statement in itself. I hadn’t considered it in light of resource limitations, either, and yet that makes so much sense. Could the date inscribed be important? Curator: Absolutely. Specific dates can operate as silent witnesses, subtly defying the obliterating force of history. Does "B-1-1" have meaning in archival records? If he produced several of these, that number is probably an identifier, but one we cannot assess easily without deeper research. We can interpret how van Teeseling inserts his individual existence into a larger narrative during times that individuality was in jeopardy. Editor: So, beyond being a portrait, it's also a record of a specific time and maybe a form of personal and political resistance? Curator: Precisely. It's a potent reminder that art serves a vital purpose: documenting history, both publicly and privately. Editor: I’ll definitely be looking at art of this period differently from now on. Thanks for the context. Curator: My pleasure. Recognizing these social contexts enables us to unlock a deeper significance to art as social and political witness.