Biljarttafel met biljartballen 1885 - 1931

Editor: So, here we have Willem Bastiaan Tholen's "Billiard Table with Billiard Balls," created sometime between 1885 and 1931. It’s a graphite and pencil drawing currently held in the Rijksmuseum. The sketchiness of the piece gives it a very ephemeral, almost dreamlike quality. What do you make of this, given its historical context? Curator: This piece speaks volumes about the evolving role of leisure and domestic life during that period. The late 19th and early 20th centuries witnessed a growing middle class with increased leisure time. Billiards, once confined to aristocratic circles, became a symbol of bourgeois recreation. Think about what the presence of a billiard table says about the household's aspirations and social standing. Do you think Tholen is making a comment on this social shift, or merely documenting it? Editor: I suppose it could be either, but I'm leaning toward documentation. It feels like a candid snapshot, not a judgment. The composition, with its fragmented scenes, also makes me wonder about the artist's intent. Is this a study, a collection of impressions? Curator: Precisely. Consider the rise of Impressionism. Artists were breaking away from academic conventions, prioritizing subjective experience and fleeting moments. A sketch like this aligns with that movement, capturing a sense of immediacy. The political aspect is the shift in patronage – no longer religious or royal, but now, more and more, the middle class and the state museums are collecting this art. How might this change in patronage affect the subjects of paintings and drawings? Editor: That’s a really interesting point. With a broader audience, art became more relatable, less focused on idealized figures and grand historical narratives, I think. It is interesting to me how those social dynamics shaped the artwork. Curator: Exactly. Understanding that interplay is key to appreciating the piece’s historical significance and also recognizing how museums contribute to validating artworks by housing them. It sheds new light on Tholen’s work for me.