Portret van mevrouw Braet Bisdom van Cattenbroeck-van Hall 1874 - 1925

Editor: Here we have Jan Veth's "Portrait of Mrs. Braet Bisdom van Cattenbroeck-van Hall," created sometime between 1874 and 1925. It's a pencil drawing with a rather subdued, contemplative feel. What stands out to you, looking at it? Curator: Well, I’m immediately drawn to the materiality of the work itself. We’re looking at pencil on paper. Think about that: the readily available tools. Consider the paper itself – its source, its processing, the labor involved in its very existence. The subtle tonality achieved speaks volumes about the pressure, the control, and the skill acquired through repetitive practice with such humble means. Editor: I hadn't really thought about the paper and pencil themselves! What was the significance of choosing those materials? Curator: In that period, there was increasing mass production and distribution of paper and pencils, which meant accessibility. Realist portraiture wasn’t just for the elite, but could depict the burgeoning middle class. It's interesting to consider how the increased availability of materials shaped artistic practice and even subject matter. The medium also hints at its own disposability, its own status in terms of value within society. What’s your take on the sitter’s class status based on this drawing, its purpose and materiality? Editor: So you are thinking about who gets depicted with accessible mediums versus more formal or expensive mediums. I see what you mean about making art and portraits more accessible to wider portions of society. Now I want to know about other portraits done around the same time. Curator: Exactly. Thinking about the material conditions reveals hidden power dynamics and social shifts embedded within even a seemingly simple portrait. Editor: It makes me think about art as a commodity and who has access to creating and owning it. Thanks for pointing that out.