Wild Horses 1978

Editor: This is Harrie A. Gerritz’s "Wild Horses," created in 1978. It seems to be an acrylic print. The stark geometric shapes create such a distinctive, almost unsettling landscape. What jumps out at you when you look at it? Curator: Immediately, I see a commentary on the relationship between human intervention and the natural world. The domesticated horse in the foreground is separated, almost isolated, from the wild herd in the distance by these striking blocks of color. The artist’s simplification, almost to the point of near abstraction, makes me think about the visual language of modernism. Does this sanitization of nature also hint at a distancing, a controlling impulse within contemporary society's view of nature? Editor: That’s a fascinating idea! I hadn't considered the aspect of control, but it makes perfect sense. I was more focused on the purely visual—the flattened perspective and bold colors feel so contemporary. Do you think the choice of a mundane subject, like a horse, contributes to this? Curator: I think it absolutely does. Horses were central to Dutch rural life for centuries, but were increasingly supplanted by machines in the 20th century. So, to present this subject through a Modernist lens suggests both an idealization and an obsolescence. The print becomes a kind of socio-historical artifact. Editor: So the painting doesn’t just depict horses, but tells a larger story about societal change? Curator: Exactly. And don't overlook how institutions play a role here. This artwork is in the Rijksmuseum; isn't it fascinating how this modernist perspective on rural life now becomes a part of national heritage, a consciously crafted visual narrative? Editor: Wow, I am not going to look at rural landscapes the same way again! Thank you, that was a very helpful dive into art history and societal changes. Curator: My pleasure. Thinking about how artistic style, social shifts, and even museum collections interrelate enriches our experience.