Gezicht op de haven van Harderwijk Possibly 1863 - 1867

Editor: Here we have Cornelis Springer’s “View of the Harbour of Harderwijk”, likely from sometime between 1863 and 1867. It's a double-page spread from a sketchbook, using pencil and pen to capture these harbor scenes. What strikes me most is the intimacy of it; you can almost feel the artist standing there, quickly sketching what he sees. What stands out to you in this work? Curator: Oh, that feeling of immediacy is spot-on! It's less a finished piece and more like a visual diary entry. Notice how Springer captures the light reflecting off the water and the hustle-bustle of daily life with just a few deft lines. For me, sketchbooks are like time capsules. They freeze a moment, revealing the artist's unfiltered observations. Does the realism of the sketch remind you of that era? Editor: Yes, the details in the boats and buildings certainly suggest a commitment to realism, but with a kind of raw energy, capturing the scene without idealizing it. The looseness almost feels modern. It makes me wonder if this was purely for personal reference or if Springer intended to develop it further? Curator: That’s a great question. Often, these sketches served as studies for larger paintings, but sometimes the act of observation itself was the point. Perhaps Springer just wanted to absorb the atmosphere of Harderwijk. Can't you almost hear the cries of the gulls? Editor: I can almost feel the breeze! It’s amazing how much atmosphere he conveys with so few lines. Seeing this makes me appreciate the value of sketching. Curator: Absolutely. It teaches you to really *see* – to distill the world into its essential forms and feelings. That’s something a finished painting sometimes glosses over, right? This sketch definitely reminds me of that process, a good start to developing artistic seeing, don’t you think?