Portret van een jongen met krullend haar 1706 - 1768

Curator: Here we have "Portret van een jongen met krullend haar" a pencil drawing by François Morellon La Cave, dating to between 1706 and 1768. It’s currently held at the Rijksmuseum. Editor: My initial thought is that this work seems rather intimate, almost as if the artist captured a candid moment. The softness of the pencil and the boy's expression create a sense of gentle curiosity. Curator: Indeed, the Baroque style, which emphasized drama and grandeur, takes on a surprisingly tender form here. Portraits, of course, served to immortalize and often to aggrandize the subject, but La Cave’s focus seems less on status and more on capturing a specific likeness, a personality. Editor: And the use of the pencil drawing, rather than say, oil on canvas, suggests a more accessible, immediate representation. Was it perhaps a study for a larger work, or a more personal project, outside formal commissions? Curator: It’s difficult to say definitively, but I lean towards the latter. The simple line framing the head creates a sense of containment, further drawing our focus to the boy’s face and playful, somewhat sly smile. This simplicity seems to speak to the artistic freedom inherent in intimate pieces. Editor: The "curly hair" in the title becomes almost a symbolic halo; an indicator of youthful innocence, almost cherubic, further augmented with these full cheeks and puckered smile, as if keeping a juicy secret. What do you think he is dreaming about? Curator: You know, in this period, portraiture was deeply intertwined with notions of identity and societal expectations. In that context, his barely-there smile could almost read as subversion or rebellion against imposed decorum, yet softened and humanized by those charming ringlets of his hair. Editor: That’s fascinating. I wonder how this image circulated. Would it have been for private family viewing only? The subtle gradations and detail seem almost too sophisticated for mere private indulgence, no? Curator: Possibly. Considering the prevalence of printed portraits, there is no doubt about the likelihood of this drawing serving as a reference, albeit for a smaller, more discerning audience. Editor: This discussion has highlighted, at least for me, the nuanced play between the intimate and formal portraiture. I never cease to be amazed at what images carry over time. Curator: It certainly offers a lovely invitation to think about not only artistic intention but also reception—how art circulates and touches people in myriad ways throughout its history.