Zes liggende lammetjes Possibly 1820 - 1829

Editor: We are looking at “Zes liggende lammetjes,” or “Six Lying Lambs,” a pencil drawing by Jean Bernard, dating probably from 1820 to 1829. There’s a real tenderness in the simplicity of the lines, and how it captures these creatures resting. What do you see in this work? Curator: It is crucial to examine the materiality of this drawing. Pencil wasn’t merely a tool for preparatory sketches but became a means of artistic expression in its own right during the Romantic era. Bernard's choice of pencil is not accidental; it directly speaks to the values of accessibility and the inherent worth of humble materials in the hands of the artist. Editor: That’s interesting. It does feel like there’s something deliberate about the choice. Curator: Consider how this simple drawing relates to agricultural shifts and the rise of wool production. Sheep weren't merely idyllic symbols; they were commodities. How does the act of drawing, and the relative availability of pencil as a medium, democratize art-making and depict labor? What kind of audience did this production, using such medium, envision and invite? Editor: It's fascinating to consider the drawing in the context of material production. I hadn't thought about it that way. The simplicity almost obscures the underlying economic and social implications. Curator: Exactly. And notice how the lack of detail – the rudimentary application of pencil on paper – doesn’t diminish the drawing’s appeal; it emphasizes the labor of image production and the inherent value found even in basic materials. So, let's reflect, have we altered your initial view about this lovely piece of drawing, its message and medium? Editor: Absolutely. Thinking about the social and economic factors involved really changes the way I understand the drawing. Curator: Indeed. It transforms a simple sketch of lambs into a rich commentary on art, labor, and the materials that bind them.