Bomen c. 1864 - 1865

Editor: Here we have "Bomen," or "Trees," a pencil and ink drawing dating back to 1864 or 1865 by Maria Vos, housed right here at the Rijksmuseum. It's so raw, almost unfinished. What do you make of a sketch like this, stripped of any pretense? Curator: It is precisely its rawness that I find so compelling. Sketches like these provide invaluable insights into an artist's process, the development of an idea. Consider the art world in the mid-19th century; the academy prized polished, finished works. This glimpse into Vos’s sketchbook, into her personal experimentation, challenges that hierarchy. What might a drawing like this tell us about the role of women artists at the time, or the public’s perception of their practice? Editor: That’s interesting, framing it against the academy. So, by showing this sketchbook page, are we democratizing art, making it more accessible? Curator: Exactly. Presenting this "incomplete" work complicates our understanding of artistic skill and value. It allows the viewer to connect with the artist on a more human level. Think about it: how might a piece like this challenge traditional art historical narratives that often focus solely on masterpieces and celebrated figures? Editor: It makes you wonder what other ‘hidden’ works artists create outside of the public eye. It’s also a reminder that even established artists experiment. Curator: Precisely! It reframes how we think about artistic genius, moving it from a moment of divine inspiration to a process of exploration, visible here through tentative lines and erasures. It creates space for others who maybe do not feel worthy of calling themselves Artists. What a potent idea, to display works from personal sketchbooks, for that reason! Editor: I’ll definitely be paying closer attention to those preliminary sketches now when I visit museums. Curator: And hopefully, we will all think more deeply about who gets to be remembered as an artist, and who gets a solo exhibition versus a drawing hung in the hallway.