Brief aan Jean Antoine Verschaeren Possibly 1855

Curator: Here we have “Brief aan Jean Antoine Verschaeren,” which translates to “Letter to Jean Antoine Verschaeren,” tentatively dated to 1855, created by Jozef Geefs. Editor: It's… just a letter. Ink on paper. The writing has an elegance but there's nothing particularly remarkable about the materials. Feels pretty utilitarian. Curator: Letters are indeed part of the social fabric. Think about it: paper becoming increasingly affordable during this period expanded literacy, creating networks of communication. And consider Verschaeren. He was director of the Royal Academy, implying Geefs was hoping to network with people in prominent positions in art institutions. Editor: Well, I can read some of the French; the note states he is regretting not being able to come to the 'Redeum Carnation' due to severe tooth pain! How interesting can this missed meeting be, or do teeth issues represent a deeper anxiety that translates in the art world through this medium of letter. Is this Romanticism through tooth decay? Curator: Geefs himself came from a family of sculptors; perhaps, at the time, a letter from someone like him was more of a statement, and it carries importance in the relationship with Vershaeren. Think about the cultural status of letter writing in the 19th century, not quite as important as high sculpture, but very necessary in terms of creating artistic networks and being accepted. It suggests an active participant in the art circles of the time, which can lead to bigger commissions or purchases down the line! Editor: But doesn’t it all still comes back to the labor? To me, it would have been easier just to not write the letter. I would be more interested in the specifics of the ink: what dyes, what mixtures give it this sepia tone. In his situation the letter doesn't really point to high levels of labor, so the statement comes off as very low risk. I bet a formal apology after, made in person, would've been a bigger opportunity! Curator: Perhaps! Still, consider that the role academies like the one Verschaeren directed would be influential in the reception of Romantic sculpture. Therefore, any correspondence to powerful men must also be considered when we are documenting Jozef Geefs' career as a whole. Editor: Alright, alright. Maybe the political aspect does change my view on it a bit. Still prefer sculptures but letters have their say as well. Curator: And I find the social function, to allow his potential benefactor that even acclaimed sculpture artists must submit themselves to toothaches, much more relevant to the reception of his sculpture later. A little insight for a future fan!