Studies van vinnen 1876 - 1924

Editor: Right now, we’re looking at Gerrit Willem Dijsselhof’s "Studies van vinnen," which roughly translates to "Studies of Fins" created sometime between 1876 and 1924. It’s a pencil drawing on paper. My first impression is that this looks like a page torn from a sketchbook; it seems so spontaneous and immediate. What’s your take on this piece? Curator: I agree. These sketches offer an intimate glimpse into the artist’s process, perhaps reflecting the rising interest in naturalism at the time. These are studies, not finished artworks meant for public consumption, giving them a raw and unfiltered quality. Does that resonate with you at all? Editor: Yes, definitely! The immediacy really stands out. There's something very private about these types of sketches. Do you think the scientific method plays a role, or am I projecting? Curator: The late 19th century was defined by rigorous observation across fields. Here, the artist explores the nuances of aquatic form, reminiscent of scientific illustrations of the period. Think of Ernst Haeckel's biological drawings that were impacting artists! Consider that Dijsselhof's other works incorporate art nouveau so we also see a combination of both art and science reflected here. How do you view the overall composition and layout choices here? Editor: I'm seeing a sort of scientific arrangement as well. A kind of classification! I wonder if it informed the visual language he later adopted. The distribution of these 'fin' portraits makes the page look more abstract, almost like letters in a coded alphabet. Curator: It’s fascinating to consider how these personal explorations might have contributed to a more structured aesthetic in his public pieces. Thank you for observing and pointing out so well, the balance that these personal sketches created in Dijsselhoff's practice, I hadn't really focused on this aspect! Editor: My pleasure! I feel I understand the artist much better thanks to you.