Vrouw met uitgestoken linkerarm, in profiel 1875 - 1934

Curator: Good morning. Today, we're looking at "Vrouw met uitgestoken linkerarm, in profiel" – that's "Woman with outstretched left arm, in profile." It's a sketch by Isaac Israels, dating from around 1875 to 1934, and is held here at the Rijksmuseum. Editor: Well, hello there. My immediate impression is – energy! Even though it's just a quick sketch, you get a sense of movement. A flurry of ideas swirling around that arm, like she’s about to conduct an invisible orchestra. Curator: Precisely! It has that Impressionistic quality. Israels, influenced by the Parisian art scene, often captured fleeting moments and everyday life. You can see that ethos even in what seems like a casual sketch. The work displays his interests as an Impressionist to record a candid and intimate moment. Editor: Candid is the word. You almost feel like you’re intruding on a private thought, catching a glimpse into his sketchbook. What gets me is how he boils it down to the bare essentials, yet there's this real liveliness there. Do you know the pose that this references? Is this inspired by some famous work or perhaps an exercise for another project? Curator: The sketchbook format suggests preliminary studies, you are right. Isaac Israels belonged to a generation of artists exploring new forms of realism, questioning traditional academic approaches. In this drawing the artist is playing with a composition he has used elsewhere in paintings to sketch his ideas. This fits in with his overall vision. Editor: It’s funny how these sketches, meant as preparation, can sometimes feel more vital than the finished work, isn’t it? It feels quite modern; still fresh and experimental, you could find this pasted into someone's sketchbook today. The roughness, I love it. There is a feeling the subject will move away any minute, and we are so lucky to observe! Curator: Indeed. Its modernity also resides in the work's emphasis on process. It gives us a privileged view of the artistic endeavor stripped bare, revealing the workings behind a creative approach that had a wide reception across European centres. Editor: It is remarkable to think about this context and now, considering we are doing that same in other media and styles. The art world may change quickly but the process is more slow. Curator: A perfect paradox for a closing thought. An enduring work of its time with insights for the now. Editor: Agreed! Something unfinished always leaves room for a dialogue to begin, I guess!