Gezicht van een reus met hoofddeksel c. 1936 - 1940

Editor: Here we have "Gezicht van een reus met hoofddeksel," or "Face of a Giant with Headdress," a pencil drawing by Henk Henriët, made around 1936 to 1940. There’s something really striking about the raw, almost unfinished quality. What catches your eye about this work? Curator: For me, it’s the artist's deliberate use of such a simple material—the humble pencil—to depict something so potentially grandiose. It almost democratizes the idea of the "giant," stripping away any idealized grandeur we might expect. Consider the social context. It was made in a period marked by economic hardship. Do you think the medium reflects the socio-economic landscape, a commentary on accessibility perhaps? Editor: That’s a thought-provoking point! I hadn’t considered the connection between the materials and the economic environment. Using readily available and cheap material could definitely make art creation more inclusive. Curator: Precisely. Furthermore, consider the process itself. The visible sketch lines reveal the artist's hand, the labor involved in creation. How does this materiality contrast with the more traditional, refined portraiture of the time? Editor: It’s a pretty big departure from the polished portraits usually displayed, where the focus is often on wealth and status. The emphasis here feels much more human. The material simplicity allows for a very direct connection with the viewer, there is a more organic relationship there. Curator: Yes! This rawness forces us to consider the labor, the making, and how that process contributes to the overall meaning and interpretation. It’s less about the subject's status and more about the artistic process itself. Editor: This has completely changed how I see the piece! Thinking about it in terms of material choices and production, rather than just a simple drawing, reveals so much more. Curator: Absolutely. Looking at art through a material lens helps us unpack its broader cultural significance, how the artist is responding to the world around them, not just representing it.