Portret van Giuseppe Garibaldi 1828 - 1893

Curator: Welcome. We’re standing before Johan Philip Koelman’s pencil drawing titled "Portret van Giuseppe Garibaldi." Koelman made it sometime between 1828 and 1893. What strikes you first about it? Editor: The sheer intensity, really. Even in a seemingly simple drawing, the artist captures Garibaldi's strength. It’s like he's looking off into the distance, already planning the next revolution, beard and all. You can feel his energy! Curator: Koelman's choice of pencil for such a powerful subject is interesting. While portraiture often serves the purpose of immortalizing significant individuals, the material adds an almost unfinished quality. The artwork’s execution allows for nuanced interpretations and perhaps even raises questions of who decides on such immortalization and to what extent. Editor: Absolutely, it is like a glimpse into the process of image-making. I imagine Koelman sketched him in a hurry and captured not only Garibaldi’s face but his volatile personality as well! There's a palpable sense of the subject breathing. Also, the lines of the drawing, almost frenzied at places, highlight Garibaldi's dynamism, as if he won’t stay still for even a simple portrait! Curator: His influence in shaping Italy is widely celebrated. I’d argue that presenting him with the rough qualities of the drawing medium may humanize Garibaldi even more. Editor: Yes! The "humanized" part is very important. History often presents icons in cold stone. With the rawness and realism visible, the artist reminds us there’s flesh and blood involved here. We all love heroes—and pencil drawings are often the quiet tools that capture the seeds of mythmaking. Curator: Indeed, in the grand theatre of Italian unification, Koelman invites us backstage. Any final thoughts as we move on? Editor: That Garibaldi's gaze lingers beyond the page, asking if we, too, dare to dream.