Begrafenis van Simon de Vries 1918 - 1921

Curator: This work, titled "Begrafenis van Simon de Vries," or "Funeral of Simon de Vries," was created by Patricq Kroon sometime between 1918 and 1921. It appears to be rendered in pen and ink. Editor: It strikes me as a political cartoon, really stark and, well, grim. There's a harshness in those angular lines. Like, everyone is just…awkwardly perched around this…massive headstone. It’s anything but subtle, right? Curator: Exactly. The context is key here. Kroon was working in a period of great social and political upheaval. Caricature became a really potent tool for social commentary. You see it used to critique political figures and societal norms pretty mercilessly. Editor: Right, those guys in top hats! Each with their name sort of hovering over their head? It’s funny but with a nasty bite. Are those specific people? Like, were they notoriously awful? Curator: They are. Each is labelled by name. Men such as Treub, Marchant, Kink, Brusselmans and Vullers. The exaggerated features and placement suggests that these men are, perhaps, more concerned with appearances than genuinely grieving or reflecting on Simon's passing. It invites us to consider the ethics and behavior of political figures during times of public mourning, the artist turning public grief into a platform for exposing corruption. Editor: It's a blunt instrument, but effective. And what's written on the tombstone? I don’t understand Dutch. Curator: The inscription reads, “Symen de Vries, hij dee’ niees," meaning “Simon de Vries, he didn’t do anything.” That phrase certainly packs a punch. Editor: Okay, now that's truly brutal. It suggests a life wasted, maybe even incompetence? Or that De Vries' life had no tangible accomplishments... I mean it can go many ways, it’s a harsh statement on mortality in general. This idea that death kind of nullifies all you did when you lived... that's really scary and morbid, but also, sadly, what makes the artwork linger with the viewer long after the first impression. Curator: Precisely. The impact resonates far beyond a simple visual gag. It holds this mirror up to society, forcing them to question their values, accomplishments, and the marks they hope to leave on the world. It remains very timely, even a century later. Editor: You know, spending time with this, what initially struck me as just a funny, albeit bleak, cartoon now feels like a proper memento mori, forcing uncomfortable self-reflection. Curator: Indeed. The power of Kroon’s work lies in its ability to weave social criticism with profoundly existential themes, inviting dialogue long after the funeral ends.