Gezichten 1881 - 1883

Editor: So this drawing, “Gezichten” or “Faces,” by George Hendrik Breitner, dates to 1881-1883. It’s a pencil sketch with what looks like watercolor, and there’s a real sense of immediacy and unfinished-ness to it. What can you tell us about its context? Curator: Breitner was deeply embedded in the social and artistic currents of late 19th-century Amsterdam. We see in this study the influence of Impressionism, moving away from academic tradition toward capturing fleeting moments, everyday life. Consider the public he was portraying through a feminist lens, as it appears he may have had a fascination with portraying women of Amsterdam. Editor: It's interesting that you point that out. He had an entire project of photography of young working-class women of Amsterdam, often referred to as models. Curator: Precisely! Now, looking at the Rijksmuseum, the socio-political reasons behind adding the study to the collection is one such factor to its fame today. But looking closely to Breitner's technique and his choice to only draw women during this period, what could we make of it? Editor: Perhaps it was an attempt to elevate them within the social fabric by turning them into his muses, even giving a form of empowerment, especially given the lack of agency these women had in broader Dutch society. Curator: Exactly! His focus, like that of Zola or other realist writers, provided glimpses into segments of society often ignored or romanticized, prompting the public to contend with uncomfortable truths of that era. These works humanized these models beyond conventional stereotypes, allowing them dignity despite the social injustices against them. Editor: I never considered the artist's attempt to offer empowerment and agency through figuration, so thanks! Curator: It shows how a sketch, seemingly simple, resonates with historical, political and feminist values of that time.