Namen en adressen in Den Haag c. 1873 - 1923

Editor: So, this is "Names and Addresses in The Hague," a work on paper in ink, dating from around 1873 to 1923, by George Hendrik Breitner. It just looks like a page torn from a notebook, filled with writing. It’s kind of…unassuming, almost mundane. How do you interpret this work? Curator: Precisely! Its mundane appearance belies its significance. Consider Breitner's social context. The late 19th century in The Hague was a time of immense social change, grappling with modernization and urban development. This isn’t just a random list; it’s a record of human lives, addresses acting as markers of individual existences within a rapidly evolving urban landscape. Editor: So, it's a commentary on urban life? Curator: In a way, yes. Think about who has the privilege of being listed, of being remembered? Is this simply a directory, or is it an inadvertent glimpse into the social hierarchies of the time? Consider how access to housing and even literacy played a part in shaping the social order. Whose names are present, and equally important, whose are missing? Editor: That’s a great point. I hadn't considered the social implications of something as simple as a list of names. Curator: Breitner, known for capturing the everyday lives of the working class, is making a subtle political statement here. What does it mean to document these particular individuals and places during this period? What did the act of meticulously writing these names mean for the artist himself? What story does the intersectionality of class, gender, and race within this list tell? Editor: This has given me a whole new way of thinking about what at first seemed like just a piece of paper. It really shows how even the simplest artwork can reveal deeper truths about society and history. Curator: Exactly! Art can provide these interesting clues when approached with the understanding of cultural and political dimensions, transforming the overlooked into valuable insights.