Maleische vrouw 1919

Curator: "Maleische Vrouw", or "Malay Woman," a 1919 woodcut by Johannes Frederik Engelbert ten Klooster, throws you right into a world of sharp contrasts, doesn't it? The bold lines carving out this profile feel incredibly deliberate, almost like she's emerging from the shadows, a goddess in monochrome. I find myself captivated, really wondering what's behind that placid profile. What are your first impressions? Editor: It strikes me as quite striking, actually! The graphic quality and starkness against the very traditional portrait feel so...modern. I mean, what does one even *do* with a work like this? Curator: Ah, "do with it" – I love that! You’re right, it’s not just hanging on a wall to look pretty, is it? It invites conversation. Look at the geometry playing with the organic shapes—the lotus flowers almost vibrating against those strong verticals. For me, the artist captured a time where eastern philosophy started seeping into Western art – does that ring true for you? Editor: Definitely. It’s that Art Nouveau vibe, perhaps? A love for the exotic rendered through a really European lens. The lines almost remind me of Aubrey Beardsley. But what’s with the swans, though? The ones in her headdress? Curator: Wonderful observation. Swans – creatures of beauty, grace…and potential aggression! The symbol, neatly woven, could suggest both outward composure, and the strength in restraint… or maybe the artist was simply fond of swans. Sometimes, meaning emerges in our connection with the work, years, even generations later, long after the artist’s passed. Doesn’t that strike you as exciting? Editor: I suppose you are right! Thinking about it like that it sort of makes me see this in a completely different light. Thank you. Curator: Isn’t that the best part of art - discovering new avenues?