Weg met aan weerszijden bomen by Jo Bezaan

Weg met aan weerszijden bomen 1925

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drawing, pencil

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pencil drawn

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tree

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drawing

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landscape

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charcoal drawing

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road

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pencil drawing

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geometric

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pencil

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abstraction

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line

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pencil work

Dimensions height 595 mm, width 502 mm

Curator: What a powerful and quiet image! The receding road draws my eye deep into this landscape. Editor: Indeed. There is something very stark in the tonal contrasts here, a sense of geometry imposed upon a natural scene. Before we analyze further, perhaps you can formally introduce us to this artwork? Curator: Of course. This is Weg met aan weerszijden bomen, which translates to Road with Trees on Both Sides, made in 1925 by Jo Bezaan. It's currently held at the Rijksmuseum and composed of graphite pencil and possibly charcoal on paper. Editor: Looking closely at Bezaan's work, I immediately sense the deliberate composition. The road acts as a strong diagonal, bisecting the plane, countered by the regimented verticality of the trees on either side. There’s a striking interplay between the organic forms and constructed lines. Curator: I see something more existential at play here. Roads are an ancient symbol of journeys, paths to the future, sometimes to an unknown or fateful end. The uniform trees flanking both sides speak to inevitability. Editor: You read this through a lens of symbolism, but consider the lines themselves! See how Bezaan’s marks range from controlled to quite agitated? He contrasts careful details on the tree trunks against more generalized washes creating shadows. It keeps your eye moving. Curator: The absence of detail in the distance definitely intrigues. I am tempted to see the lack of human presence on this road as laden with deeper meanings – perhaps a meditation on nature dominating modern life. Editor: Possibly. Or perhaps, Bezaan was simply interested in exploring the formal relationship between the planar qualities of the road and the cylindrical volumes of the trees! The simplification lends itself toward abstraction. Curator: It's interesting how the drawing, at once, evokes a palpable place and a sense of abstract meditation, that balance is hard to forget. Editor: Agreed. What we are left with is a beautifully balanced study in light and shadow, stillness and progression.

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