Twee vrouwenportretten c. 1873 - 1886

Curator: Breitner's "Twee vrouwenportretten," or "Two Women Portraits," a pencil drawing from around 1873 to 1886, has a real, unvarnished feel to it, doesn't it? Editor: Absolutely. There's something almost haunting about its stark simplicity. It feels immediate, like we're looking over Breitner's shoulder as he sketches. Curator: Precisely! It gives me this delicious sense of intimacy. These aren't posed figures for posterity, but real faces caught in a moment. The woman on the right, especially, with that head covering...she looks formidable. Editor: She does, doesn't she? The sketch seems like it's capturing something about the shift in societal roles at that time. These women aren't necessarily wealthy, given the plainness of their garb, yet they have a presence. Breitner often found his models among working-class women, showcasing individuals who were gaining more public recognition in that period. Curator: And you can practically feel Breitner's pencil flying across the paper. Look at the way he uses shading to suggest form, especially around the woman on the left's face and elaborate collar! It's loose, gestural, almost…Impressionistic, dare I say? Editor: He certainly was ahead of his time. Though some consider Breitner as the painter of gloomy cityscapes, these character studies have significant historic value as these artworks provide insight into his way of rapidly processing visual input and initial concept work. One could interpret these women as 'characters'. Curator: Oh, completely! I could spin stories about each of them. This drawing breathes, you know? It isn't static. I want to invent backstories for each, almost write fictional diary pages. Editor: I think it highlights something critical: the artist's sketchbook becomes this potent space for exploring not just technique, but also identity and social commentary. Curator: A private, almost sacred space for those raw, unfiltered observations. Well, I'm grateful we get to peek into Breitner's. It sparks endless possibilities for interpretation, I love this feeling! Editor: Agreed. And that it exists within a major public institution shows the value society now places on even these kinds of spontaneous personal artworks.