Studies en annotaties c. 1906 - 1923

Editor: This is "Studies en annotaties," a drawing by George Hendrik Breitner, made between 1906 and 1923, using pencil on paper. It's currently held at the Rijksmuseum. I’m immediately drawn to the almost chaotic energy of it; the lines seem so spontaneous. What do you see in this piece? Curator: I see a mind at work, recording impressions, not aiming for perfection, but for the essence of the thing. The jotted notes become a kind of personal iconography. Do you notice the recurring shapes, almost geometric, interspersed with organic forms? They speak to a symbolic language only the artist fully understands. Editor: You mean like how he alternates between sharp lines and almost blurry smudges? Is that intentional, creating a sort of code? Curator: Exactly. Think of the cityscape, a familiar symbol of modernity. Breitner captures its ephemeral nature through these fleeting marks. He’s not just depicting buildings, he's capturing a feeling, an atmosphere, a memory associated with the city. The circle at the top left might be a clock or maybe a wheel? What cultural memory do you think is Breitner tapping into here? Editor: Maybe a feeling of rapid change and industrialization? Like the city is always in motion, evolving too fast to pin down with precise lines. Curator: Precisely! He's giving us a glimpse into the evolving identity of the city through his subjective lens. Even his handwriting carries significance. The hasty annotations become part of the visual narrative. This sketchbook page becomes a mirror reflecting Breitner's personal connection to the world. Editor: So, it's less about the specific places he’s sketching, and more about the emotional resonance they hold for him? Curator: Absolutely. Breitner uses the sketchbook as a repository of personal meaning, transforming ordinary scenes into potent symbols of a rapidly changing era. A place for him to capture feeling, above all else.