Gezicht op de Prins Hendrikkade te Amsterdam 1896 - 1901

Editor: So, here we have "View of the Prins Hendrikkade in Amsterdam" by George Hendrik Breitner, likely from around 1896-1901. It’s a pencil drawing on paper, housed right here in the Rijksmuseum. It looks like a quick sketch, almost ghostly in its execution. What strikes you about this piece? Curator: What interests me is less the ghostly feel and more what it suggests about artistic process and public perception. This isn't a finished painting meant for display; it's a raw, intimate glimpse into Breitner’s creative thought. How do you think exhibiting sketches like this alters our understanding of Impressionism as a movement that had to go through these steps? Editor: That’s interesting…it kind of demystifies it. It’s less about capturing a fleeting moment and more about…working it out, I guess. Was it common to exhibit unfinished works like this back then? Curator: Not particularly, no. The late 19th century was a time when the art market was becoming increasingly influential. Exhibiting a seemingly unfinished work challenges those notions of completion and perfection that are so valued by institutions and wealthy patrons. Think of how many sketches were considered just studies. Today we view them differently because there’s been a shift and we can show this here, in the Rijksmuseum. What do you make of that change? Editor: It’s almost like the process has become more important than the product. I mean, seeing Breitner grapple with the composition…it’s fascinating. It’s like we are able to watch how social life can play a role, especially given that he portrayed common life so well. Curator: Exactly. We’re invited to consider the social context of artistic creation and how our institutions affect that. Editor: This has really opened my eyes to the dialogue between art, artist, and the society in which art gets valued.