Figuur met gesloten ogen 1923

Editor: Here we have Lodewijk Schelfhout’s "Figuur met gesloten ogen," or "Figure with Closed Eyes" from 1923, made using ink in a drawing/print process. I'm struck by how the figure seems almost skeletal, but also quite serene. What do you make of this portrait, especially concerning its production? Curator: Considering the artist's choice of ink and printmaking, we need to examine how these materials and processes contribute to the artwork's meaning. Ink, a readily available and relatively inexpensive medium, suggests accessibility, possibly reflecting a broader social context of art production for a wider audience rather than an elite few. Editor: That's a good point. So the medium itself hints at accessibility and a particular societal viewpoint? Curator: Precisely. Also, notice the sharp contrast achieved through the printmaking technique. This creates a starkness, emphasizing the figure's contours. Could this relate to the post-war atmosphere of the 1920s, a time marked by social and economic upheaval? It is worth asking if the "closed eyes" might reference society's reluctance to face difficulties. Editor: That's a darker reading than I initially had, but it makes sense considering the period. The material limitations, perhaps, influenced the aesthetic and expressive power? Curator: Absolutely. By looking at the means of production – the materials, the printing process, the potential for reproduction – we can understand the artwork not just as a depiction of an individual, but as a product of its time, reflecting socio-economic conditions and possibly commenting on them. What does that suggest to you about the presumed intent? Editor: I hadn’t thought of the potential for multiple prints influencing the intent, making art accessible… I’m rethinking the art making labor in the 1920's now. Thanks! Curator: Indeed, thinking about the work involved adds a completely new dimension.