Omslag zakkalender voor Van Houten Cacao 1903

Curator: Looking at this, the first thing that strikes me is the sheer graphic power. It's quite striking! Editor: Indeed. We’re standing before the “Omslag zakkalender voor Van Houten Cacao,” or Calendar Cover for Van Houten Cacao, created by Theo van Hoytema in 1903. It’s a woodcut print currently held here at the Rijksmuseum. Curator: Van Houten Cacao? So this was advertising? The labour involved in creating such a detailed print for a commercial product fascinates me. Was it typical for that time? Editor: Absolutely. The turn of the century saw a boom in advertising, and artists frequently lent their talents to promoting consumer goods. What I find intriguing is the choice of imagery - these solemn ravens perched amidst the stark winter landscape. Cacao is comforting, why this somber theme? Curator: Maybe the artist had an ironic sense of humor! It’s clever. Though I am more intrigued by how the printmaking process informs our understanding. Notice how the textures have been built with what appears to be layers and cross-hatching. It reminds us this image exists through production; its status shifts the focus from artistic concept to object to be acquired. Editor: A very valid point. And one could argue the use of woodcut, a more "common" printmaking medium, speaks to accessibility and the brand's desire to appeal to a broader public. It's worth considering, too, the cultural symbolism of ravens – traditionally associated with ill omen, death, but also wisdom. It’s a clever play of familiar and, dare I say, subversive, imagery within a capitalist framework. Curator: And let's not ignore the watercolour illustration qualities. Despite its commercial context, the treatment of the subject has a very strong relationship with Symbolism, elevating it beyond its immediate function. Editor: So, more than just selling cacao, it’s selling an idea of, perhaps, the ‘dark side’ of comfort. Or simply tapping into that fin-de-siècle fascination with the macabre. It makes you wonder, what kind of visual landscape did folks expect back then to advertise comfort food? Curator: Exactly! The image offers a multi-layered, almost anthropological record. Fascinating how examining material culture allows one to excavate histories often left unacknowledged by “fine art.” Editor: Agreed. Considering its public function and context gives us richer insight, and perhaps changes how we view both the image and those for whom it was intended.