Twee gazellen 1926

Here we see ‘Two Gazelles’, a print made by Samuel Jessurun de Mesquita, held at the Rijksmuseum. The stark black and white contrast immediately grabs our attention. Two stylized gazelles rest within a composition of bold lines and shapes, evoking a sense of serene stillness. The woodcut technique lends itself to the creation of strong graphic forms; Mesquita masterfully exploits this to distill the essence of the animals. Notice how the sharp vertical lines suggesting grass create a rhythmic base, grounding the smooth, geometric forms of the gazelles. Above, the horizontal bands abstractly suggest water, flattening the depth of field. This interplay between the animals and ground raises questions about representation and abstraction, playing with the viewer's perception. The contrast between positive and negative space destabilizes conventional notions of depth and form. Are the gazelles defined by what is, or is not, there? Consider how the inherent qualities of the printmaking medium—its capacity for stark contrasts and linear precision—serve not merely as descriptive tools, but as a means of exploring fundamental questions about seeing and knowing.