Twee kinderhoofden 1820 - 1826

Jean Augustin Daiwaille sketched these two children’s heads, likely in the early 19th century. Note the hairstyles, the soft curls framing their faces. These curls are not merely decorative; they echo the visual language of classical sculpture, recalling the idealized forms of ancient Roman and Greek depictions of youth. Consider how this motif appears elsewhere: in Renaissance paintings of cherubic angels or Baroque portraits of noble children. These carefully arranged curls persist, becoming a visual shorthand for innocence and purity. Yet, the context alters the symbol’s resonance. In Daiwaille's sketch, the curls possess a certain unaffected quality, contrasting with the deliberate artifice seen in earlier aristocratic portraiture. These curls, therefore, are not static. They are a palimpsest, inscribed with layers of cultural meaning, reflecting not just beauty but also the changing ideals of childhood. They speak to our collective memory of innocence, a memory that continues to evolve.