Leeuw, uilen en apen c. 1910

Curator: Let’s turn our attention now to "Leeuw, uilen en apen," which translates to “Lion, Owls, and Monkeys," a print from around 1910. It resides here at the Rijksmuseum. I'm interested in the way Bernard Willem Wierink blends these animals in what looks to be a linocut or woodcut. Editor: It strikes me as quite stylized, almost totem-like. A serious, looming lion flanked by these cheeky monkeys and stoic owls... feels like a whimsical council is in session. Is it printed on handmade paper? You can see a little texture around the edges. Curator: The nature of printmaking inherently introduces texture; you’re right! There is a dialogue here between craft and representation. This particular reddish-brown color, quite specific, really suggests an affordable art piece, meant to bring art nouveau ideas into the home in a tangible way. The use of linocut as a more accessible print medium definitely plays a role. Editor: Accessible art, indeed. Yet there's a level of artistic flair in Wierink's reduction of the forms into almost geometric shapes. Look at the repetitive triangle pattern emerging from the central lion. How was something this complex carved? It almost defies what one would expect of "accessible art". Curator: What is interesting here is how this artist uses both form and process to speak about modernity and craft. In looking closely at the labor involved, you see this is also, maybe primarily, about the process. Editor: Indeed! The slight imperfections, those rough edges… they actually humanize the majestic lion and lend character to his peculiar little companions. There's warmth to the overall image. It is really delightful. I am glad we saw this piece. Curator: Yes, by looking at process, labor, and consumption we get a new view.