Zittend meisje c. 1884 - 1887

Curator: Ah, here we have Willem Witsen's "Seated Girl," dating from around 1884 to 1887. It's a delicate pencil drawing on paper, housed right here at the Rijksmuseum. What's your first take on it? Editor: Intimacy. A quiet, personal moment captured almost carelessly. It reminds me of those little sketches Degas did of dancers, only with a distinct Dutch domesticity. It has that loose Impressionistic feel, but feels... private. Curator: Exactly! These sketchbook pieces offer glimpses into the artist's process, outside of formal commissioned portraiture, showing those moments of informal creativity. This era saw a shift as people became more aware of psychology, seeking to express subjectivity in all types of art. Do you sense that here? Editor: Absolutely. There’s something very vulnerable about the sketch. She almost blends into the paper, this pale figure rendered in even paler lines, creating a real softness, and... sadness perhaps? Was Witsen known for his portraits, and was this outside of what his norm would be? Curator: While not exclusively a portraitist, Witsen was certainly more widely known for his Amsterdam cityscapes, often evoking a sense of melancholy, actually! He explored social changes within the urban setting of Amsterdam in the late 19th-century. What about it stands out to you the most? Editor: I think it's the incompleteness, strangely enough. The way the lines fade, implying form rather than defining it. It asks me to participate, to finish the portrait in my mind's eye, making her... known, somehow? So while most sketches don’t always land or catch our eyes in particular, the idea here of allowing myself as the viewer, in a museum nonetheless, feels more raw than I expected. It's odd that I almost appreciate it more unfinished, if that makes sense. Curator: It does! That participatory aspect, especially in a public space like a museum, bridges a fascinating gap. Witsen offers us a whisper, not a shout, inviting us into a shared, quiet contemplation. I’d not actually considered it this deeply myself. Editor: Well, thank you, it makes you think more of that raw human moment, where sometimes imperfection really is the beauty. Curator: A truly poetic and perfectly human notion to carry with you to the next room.