Snotdolf, met kleurnotities 1876 - 1924

Editor: This is Gerrit Willem Dijsselhof’s "Snotdolf, met kleurnotities", or "Lumpfish, with color notes," made sometime between 1876 and 1924, using pencil on paper. It feels so raw and immediate, almost like a scientific observation captured in art. What strikes you about its composition? Curator: The power of this piece resides in its structural economy. Dijsselhof has reduced the subject to its most essential lines. Note how the subtle variations in pressure create depth, defining form with a stark contrast. The annotations, seemingly casual, are integral—do they augment or compete with the pure visual data? Editor: I think they enrich it. They’re not just labels; they add another layer of information about the artist’s process, almost as if we're in his studio. It doesn't feel purely objective to me. Curator: Indeed. The structural integrity hinges on that interplay. Observe the careful distribution of the annotations, their graphic weight balancing the density of the shading on the lumpfish's body. The sketch doesn't attempt to imitate the real with photorealistic representation. Instead, it presents us with the rudimentary underpinnings of our visual understanding of the figure. Editor: So it's not just about the fish, but about seeing, and how we break down what we see? Curator: Precisely. The artist uses semiotics as a guide, noting the colors of specific parts of the fish. He isn't merely sketching; he is creating a visual language to express his relationship with form, color, and the act of observation itself. Editor: That's a compelling argument for such a seemingly simple sketch. I see how the notations interact to produce a complex view. Curator: Ultimately, what Dijsselhof achieves is an elegant synthesis of form and language. Editor: I’ll certainly think differently about sketches going forward.