Man met een verrekijker en een liggende vrouw c. 1928 - 1930

Curator: This is "Man met een verrekijker en een liggende vrouw," or "Man with binoculars and a reclining woman," a pencil drawing on paper, likely created between 1928 and 1930 by Otto Verhagen. Editor: It has an intimate feel. Raw, almost, with visible pencil strokes suggesting quick observation. The composition feels unbalanced, like a fleeting moment captured in a private sketchbook. Curator: Indeed, it very much appears to be an amateur sketch, reminiscent of those found in a personal sketchbook. These sorts of works provide valuable insights into the artist's thought process and perhaps the socio-cultural gaze of the era. The presence of binoculars immediately implies a spectator's role, suggesting observation, surveillance, or simply detached viewing. Editor: Visually, the repeated, light pencil work creates a layered effect, a ghosting that is evocative. It gives depth without creating density. Semiotically, I read it as an investigation of line and form, more concerned with capturing essential contours than rendering precise detail. The almost unfinished quality lends it immediacy. Curator: Absolutely. And I wonder about the context—what was Verhagen observing? Who was the woman? This sketch opens avenues to discussions about voyeurism, the male gaze, and the societal expectations placed on women as subjects of observation. We must also consider whether the woman was aware she was being observed. Editor: I appreciate that. But for me, the most striking aspect is how Verhagen uses hatching to build form and space. See how the density of lines shifts to define the man's clothing and cast subtle shadows? It speaks to a keen understanding of tonal value despite its unfinished quality. It is his way of building volume from the void. Curator: Ultimately, Verhagen’s sketch, however incomplete, invites a contemplation on the act of seeing, not only for the figure with the binoculars, but also for us, the viewers of the drawing. It also makes us consider how these private artistic endeavors might be presented in a public setting like this gallery. Editor: A tantalizing fragment that offers so much more than its modest scale suggests. Curator: Indeed, a perfect example of the power of simplicity in art to provoke thought and feeling.