Grazende schapen 1848 - 1888

Curator: Welcome. Here we have a pencil drawing on paper titled "Grazende schapen," or "Grazing Sheep," attributed to Anton Mauve. Its creation is estimated to fall between 1848 and 1888. It is currently housed here at the Rijksmuseum. Editor: Well, right away, I'm struck by its almost ethereal quality. The delicate pencil work creates a sense of hazy tranquility, it makes me think about the labour that goes into shepherding, the care needed, it is all but visible in these sparse lines. Curator: Precisely. Mauve, who significantly influenced Van Gogh, captures not just a visual scene but a slice of rural Dutch life. This work allows us to consider how the pastoral tradition was evolving, moving away from idealized depictions toward something more closely related to what was economically real. Editor: Looking at the sketch more closely, you can almost feel the texture of the paper. The material itself becomes part of the experience, adding another layer to the landscape. I like the rough quality of this particular type of paper and how the pencil translates differently to the page compared to, say, charcoal or ink. Curator: Good point. These subtle elements were indeed calculated decisions on Mauve’s part. His commitment to Realism influenced his choice to depict everyday scenes accessible to the public, inviting reflection on the societal importance of these rural environments. Note how unembellished the work is. There is no attempt to ennoble this basic way of life. Editor: The raw material tells a story too, I think. The mass production of paper during this time and broader access to drawing materials influenced artistic practice itself. I'm also fascinated by the apparent lack of finish. Was it practice, or something for exhibition? These objects are often charged sites. Curator: The ambiguity around finish contributes to the beauty and, yes, also some important considerations on artistic creation. The availability of materials facilitated this direct capturing of reality, democratizing, in some respects, artistic expression. This speaks directly to shifting values in society at large. Editor: It really makes you think about labor. How many drawings like this would Mauve produce in a week? What kind of artistic economy was at play, here? What labour relations made this possible? Curator: Exactly. The questions the artwork brings up go far beyond what is apparent upon first observation. Thanks for your thoughts on this! Editor: Likewise. I am taking a fresh perspective on this work and hope that we can all reconsider our place in it.