Brief aan Etha Fles Possibly 1892 - 1896

Editor: Here we have "Brief aan Etha Fles," which translates to "Letter to Etha Fles," a pen and ink drawing on paper, possibly from between 1892 and 1896, by Jan Veth, currently at the Rijksmuseum. It’s just a handwritten letter, but something about the script gives it a lot of character. What jumps out to you? Curator: The labor is really front and center here. The creation of hand-lettering is slow, painstaking work. The repeated strokes, the careful forms...we're acutely aware of the artist's hand, the sheer time involved. Before mechanical reproduction, this kind of script held value. Why go to such trouble and time when similar could be printed so fast? What did the *doing* offer Veth? Editor: So you're suggesting it’s not just about the message in the letter, but the act of writing itself? Curator: Exactly. The physical act of producing the letter, the conscious artistry infused in what might seem like simple communication, transforms it. This isn't a quick note; it's a constructed object. Note also the *type* of script selected. It suggests connection, even intimacy. It would be entirely different if typed. It creates relationship through material and labour. Do you feel that difference when you consider this piece? Editor: Definitely. It makes me think about the difference between a printed invitation and a handwritten one – that extra touch. I see it now, less about the message itself and more about the whole package. Curator: And in a world increasingly dominated by mass production, hand-made becomes both statement, and precious. What do you make of that within art history? Editor: It highlights how the value of labor and materials shapes our understanding of art. Curator: Precisely. It's about looking beyond representation to the underlying material conditions of artmaking. I am glad this was thought-provoking for you. Editor: It was very illuminating, thank you for sharing that lens.