De haas in de stad 1881

Editor: This is "De haas in de stad" or "The Hare in the City," a watercolor print from 1881 by De Ruyter & Meijer. It's presented as a series of panels, almost like a comic strip, depicting a hare's misadventures. I find the layout quite intriguing, with a childlike naivete that juxtaposes the hectic scenes within. What do you make of the composition? Curator: Indeed, the panelled structure presents a fascinating compositional problem. Note the distribution of figures: in each vignette, how does the artist use line and color to guide our eye to the hare as the principal subject? Consider, for example, the relationship between foreground and background within each panel, and the implied depth suggested by the watercolor washes. Editor: It’s interesting that you mention the use of washes. Some of the panels appear quite chaotic. The panel with dogs attacking the hare, for instance, has frenetic brushstrokes that mirror the commotion. Are these contrasts deliberate, enhancing the narrative through form? Curator: Precisely! The materiality serves a critical function. Observe the textures achieved through the varying application of watercolor: in some areas, the pigment is thinly applied, creating a sense of transparency, while in others, it is layered more thickly to produce opacity and shadow. How do these variations contribute to the overall dynamic of the image, considering also the negative space? Editor: I hadn't considered the negative space. I can see now that it creates breathing room, allowing individual scenes to stand out despite the busy subject matter. Thank you for helping me see the details and structure, not just the narrative. Curator: My pleasure. Sometimes, close observation of artistic choices offers new pathways of inquiry. The intrinsic nature of the work often conceals more than its overt thematics initially reveal.