Paardenhoofd met hangende leidsels, van voren gezien before 1841

Editor: Here we have Joannes Bemme's "Paardenhoofd met hangende leidsels, van voren gezien," or "Horse's Head with Hanging Reins, Seen from the Front," a pencil drawing from before 1841. The sketch feels so immediate and raw; I'm curious, what stands out to you about this work? Curator: Look at the way Bemme used the pencil not just to depict, but almost to *construct* the head of this horse. Each line, each shadow, speaks to a physical act – a deliberate pressing, pulling, and layering of graphite onto the page. We're seeing labor visualized. Do you think the choice of pencil matters here? Editor: Absolutely. I imagine ink would give it a totally different feel—maybe more refined, less…process-oriented. Why do you call this work “labor visualized?" Curator: Because we’re so close to the artist’s hand, his movement, his effort. This isn’t just representation; it’s almost documentation of a specific kind of work, equestrian culture, and perhaps even his economic background enabling this work. The means of production are right there on the surface. Also, notice the hanging reins: were these for his personal use or commissioned for aristocratic owners of stables? The materiality poses fascinating questions of consumption and patronage. Editor: That's a totally fresh way of looking at what I initially perceived as just a simple sketch! Now I wonder about the horse’s social role, the type of work it would have performed, and the statement Bemme was attempting to make in this piece. Thank you. Curator: It highlights how everyday materials and actions carry rich historical context. Analyzing materials lets us go beyond simple aesthetics and deeper into cultural history.