Acrobaat in handstand c. 1915s - 1925s

Curator: My first impression is one of fragility. It feels as if the acrobat is balancing not only on his hands but also on the very edge of existence, rendered with such sparse, delicate lines. Editor: That’s a perceptive observation. This is a pencil drawing on paper, "Acrobaat in handstand", by Isaac Israels, created sometime between 1915 and 1925. It's part of the Rijksmuseum's collection, offering a glimpse into Israels’ process. Think of it as a moment captured mid-performance, but also perhaps reflecting the precarious nature of the entertainment industry and those within it. Curator: Absolutely. The line work is economical yet descriptive, a testament to Israels’ skill in capturing form and movement. There is a rawness to the lines, suggesting a fleeting observation sketched rapidly, focusing more on form rather than meticulous detail. It emphasizes the physical labor inherent in acrobatics. What materials did Israels choose and why? I suspect it wasn't only affordability that impacted material choice. Editor: Israels was known for his portrayals of working-class life and the performance arts, capturing scenes from daily life. Here, you see his acute awareness of contemporary leisure, as the acrobatic performance represents a segment of the working class whose skills were being turned to providing leisure for a different portion of that class. The medium -- pencil on paper -- suggests this wasn’t intended as a finished piece for formal exhibition, but was either a study for future pieces or more documentary in intent. His choice certainly emphasizes the casual and ephemeral aspects of these street performances. The politics of the time were volatile as well and street performers could be easily displaced in the coming decades as war took precedent. Curator: It speaks to the art world and the entertainment sector as industries with unique systems of labor. What seems spontaneous is born from so much training and work, yet is created to seem momentary, easily replicated, yet clearly dependent on a material body. Editor: The composition emphasizes not only form but negative space as well. The vast, blank surroundings could emphasize a commentary on the solitary work of performing, of existing only within the momentary experience, and that void outside of the labor performed for viewing. Curator: The emptiness is a powerful addition to understanding it in that way. The viewer, the stage, the material, and the performer… it creates a really compelling visual of not only the means of art production, but entertainment and its laborers too. Editor: Yes, considering its socio-political context and medium further enriches the viewing experience. I'm struck by how relevant this image remains in understanding labour practices in the entertainment and art sector today.