Studieblad met een vrijer die door zijn beminde gevangen is genomen c. 1620 - 1625

Editor: Here we have Gerard ter Borch the Elder's drawing, "Studieblad met een vrijer die door zijn beminde gevangen is genomen," created around 1620 to 1625. It's done in ink on paper and the lines are so delicate! It's interesting, how, despite the title suggesting captivity, the scene feels almost playful, or at least transactional. What strikes you about this piece? Curator: Immediately, the material execution of this piece grabs my attention. Ink on paper allows for this incredible detail. But let's consider the context. This wasn’t just drawing, but reproductive printmaking, in that, was about producing images efficiently. How does this impact our reading of the theme of 'love' or 'captivity' displayed here, knowing it's part of a wider visual marketplace? Are these genuine feelings, or a commercial representation aimed for consumption? Editor: That's a fascinating angle. I hadn't thought about the commercial aspect of love and relationships, especially at that time. Does the choice of materials tell us something about Ter Borch's intended audience, perhaps making it accessible to a broader public? Curator: Exactly! Paper and ink are comparatively inexpensive and widely available. Consider also the location – Rijksmuseum, implying the work has value now but that's our own contemporary consumption of art. Are we applying our capitalist structure back in time, when production was differently considered? Maybe Ter Borch was a bit of a social commentator, thinking critically about such issues of gendered agency and labour itself. Editor: I guess it adds layers to how one considers 'theme', looking instead, at materiality. I learned that considering the material context of creation really pushes you to see beyond the surface narrative. Thanks! Curator: It goes the other way as well - looking into themes helps illuminate production's background, like commerce back then. It's all connected!