De Hoop 1800 - 1950

Curator: Standing before us, we have a compelling wooden sculpture entitled "De Hoop" – or "Hope," made sometime between 1800 and 1950, by Eugène Lacomblé. Editor: It looks, well, rather bleak for something called “Hope.” She seems worn, tired somehow. Curator: Indeed. The figure sits heavily. One arm rests on what appears to be a broken rudder, the other gestures subtly toward her chest. A heavy sword rests next to the broken rudder. Editor: The rawness of the wood is powerful. There’s a weight here that extends beyond the literal. I keep wanting to smooth it down. To ask what troubles her so, what burden she is having trouble letting go of. Curator: Given the work’s likely timeframe, we can certainly consider its relationship to European socio-political tensions and perhaps specifically naval strife and nationalistic representation that may have caused this burden and trauma. Editor: That makes sense. It reminds us that hope is never passive, it’s something we actively hold. She isn't passively sitting, just look at the hands on her chest; it’s a very gentle posture. But those details around her... the rudder, that broken symbol of control, and a very commanding sword, are those necessary to hope, or are they hindrances? Curator: A productive question. We can consider how those symbols function both independently and in congress with one another. Is she relinquishing this notion of control? Or is she weary in its pursuit? And what exactly is worth fighting for in times of despair? Editor: Perhaps the real hope isn't a guaranteed outcome, but simply the act of persevering. To be human is not a passive thing; rather, action and spirit are everything in the presence of what appears so bleak. Curator: A beautiful sentiment and worthwhile interpretation given both its symbolic artistic nature and historical context. I think Eugène Lacomblé captured that feeling with startling effect. Editor: Agreed. It feels incredibly poignant today too.