Twee mansportretten, links mogelijk Alphons Grandmont en rechts een man, zijn linkerhand rustend op zijn voorhoofd by Bramine Hubrecht

Twee mansportretten, links mogelijk Alphons Grandmont en rechts een man, zijn linkerhand rustend op zijn voorhoofd 1892 - 1913

drawing, ink, pen

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portrait

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drawing

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amateur sketch

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light pencil work

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impressionism

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pen sketch

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pencil sketch

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incomplete sketchy

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figuration

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personal sketchbook

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ink

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ink drawing experimentation

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pen-ink sketch

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sketchbook drawing

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pen

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initial sketch

Curator: I find the frenetic energy in this double portrait sketch striking; it really jumps off the page. Editor: Well, it’s untitled, but known as “Two Male Portraits, Possibly Alphons Grandmont on the Left and a Man on the Right, His Left Hand Resting on His Forehead.” This sketch, rendered in pen and ink, dates between 1892 and 1913. It’s now held at the Rijksmuseum. The hand obscures much of the face in this piece, and yet the sketch appears spontaneous. What do you see when you study it closer? Curator: Yes, it certainly reads as spontaneous, almost like an exercise. The density of line varies so dramatically, creating areas of deep shadow around the second man’s head that give him an almost brooding air. This hand on the forehead-- a gesture ripe with historical significance. Think of Rodin’s “Thinker,” of course, or Dürer’s “Melancholia I,” all evoking intellect, perhaps sadness, or deep contemplation. Editor: Interesting you point that out-- particularly in how that trope becomes subverted given its initial rapid sketchy execution! It isn’t just the hand, though. Look at how the planes are constructed: areas of simple hatching sit adjacent to regions of wildly scribbled lines that make the first face harder to 'read' than the face which contains the thoughtful pose. Curator: Absolutely! This reminds us that symbols are dynamic. This isn't a finished portrait for public consumption; it’s arguably far more insightful. The incompleteness amplifies the sitter's introspection, inviting us into his psychological space. The open linework feels incredibly honest and unburdened, making it intensely compelling. I mean it has none of the heavy expectation of historical allegories, such as Albrecht Durer's famous "Melancholia I" piece in its final engraving state. It exists in-between those points. Editor: The sketch’s seeming casualness is intriguing, isn’t it? Despite the uneven handling of line, the balance holds together and offers a rare intimacy and fleeting depth!

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