Twee figuren c. 1860 - 1866

Editor: Here we have Cornelis Springer's "Twee figuren," which translates to "Two Figures," dating from approximately 1860 to 1866. It's an ink drawing held at the Rijksmuseum. The loose sketching gives them a kind of weightless quality, almost like they're floating. What can you tell us about the socio-historical context influencing this piece? Curator: This drawing provides a glimpse into 19th-century academic practice. Figure studies like this were fundamental to artistic training. Think of the Rijksmuseum itself; it was established in 1800 but consolidated in the late 19th century. Springer, as a cityscape painter, was formally trained in representing space. I suspect this piece shows evidence of that artistic influence. Editor: So, would you say this drawing shows formal practice taking shape for the painter of cityscapes? It's interesting how something that looks so casual in style could be a study towards such refined skill. Curator: Exactly. These weren't merely idle sketches; they reflected a deep investment in academic drawing. Figure drawing classes instilled standards but the way that students employed them also reflected political agendas or desires to reform. Editor: Fascinating. It sounds like figure studies became more than technical skill, but also a medium for different schools of art to play out. Is it possible Springer may have employed this style to embrace the freedom of visual expression? Curator: Precisely. They allow artists to move beyond the established norms while mastering them in order to grow as creatives in a way that helps others move through and better observe the world as well. Editor: That really changes how I see it! From an artist sketching idly, to someone potentially trying to master a canon but also use it in creative ways. Curator: Yes, exactly. It prompts questions about access, training, and what artists were allowed to create and disseminate. It wasn't always an equal playing field.