Boompje 1834 - 1911

Editor: This quick sketch, "Boompje" – that’s “Little Tree” – made by Jozef Israëls sometime between 1834 and 1911, is primarily pencil and charcoal on paper. The light is beautifully captured here. What do you see in this piece beyond a simple landscape study? Curator: It's fascinating how Israëls, associated with the Hague School and its realist focus, simplifies the scene. But I also find it crucial to place Israëls and the Hague School within the socio-political landscape of the late 19th century. Considering the rise of photography and its impact on realism, what function does a sketch like this serve beyond documentation? Editor: That's a good question. Was it just a study for a larger work? Or did it serve some other purpose? Curator: Exactly. Sketches like these often were intended for personal study, and that gives us clues to Israëls process. But by showcasing even preparatory works in public institutions like the Rijksmuseum, we’re also shaping an understanding of the artist, even romanticizing the initial stages of creation as a demonstration of "authenticity" Editor: I see what you mean. By elevating sketches, we potentially change our perceptions of the artist's practice. Are we valorizing something meant to be ephemeral? Curator: Precisely. And in doing so, we're creating narratives about artistic genius that may overlook the labor, the social context, the artistic conventions also shaping Israëls’ choices. Is he rebelling or conforming? How do his artistic choices play into the artistic conversations happening during that time? Editor: That is insightful. It pushes us to think about art's public life, how it gains meaning. I’ll never look at sketches the same way again! Curator: The politics of imagery shapes the way that we contextualize the art! It’s a reminder that even seemingly simple landscapes are complex cultural objects, shaped by societal and historical forces, and framed, or unframed by us.