Studie, mogelijk van een paard c. 1880 - 1906

Editor: This drawing, "Studie, mogelijk van een paard" by George Hendrik Breitner, made with charcoal around the turn of the 20th century... It feels so raw and immediate, capturing movement with such simple materials. What can you tell me about it? Curator: Well, let’s start with the charcoal itself. Breitner's choice of medium speaks volumes. Charcoal is cheap, readily available. This accessibility aligns with Breitner’s commitment to depicting everyday life, but it's more than that. Think about the production of charcoal, the labor involved. It is also easily erasable, making it perfect for sketching in the field; not precious, not formal. Editor: So, you're seeing the material as more than just a way to create an image, but connected to its broader context? Curator: Precisely. Look at the hasty marks, the unfinished quality. Is this a finished artwork or a preliminary study, possibly for a painting or even documentation? Consider what a horse signified within the booming industrial landscape of the Netherlands; beyond transport or military, the materials needed for stables, harnesses, fodder – how were those laborers faring in contrast to the Bourgeoisie? What kind of life did the modelers experience, being subjected to such observation? Editor: That's a perspective I hadn't considered. I was so focused on the Impressionistic style. Curator: The style matters, certainly, but within a materialist reading, we push beyond the surface. The “impression” captured here is not just visual, it's rooted in the physical conditions of its making and its subject. Breitner is doing so much here to de-romanticize traditional figure drawing, isn't he? Editor: It makes me think about the economics of art production in general, and the often-overlooked labor behind even a seemingly simple sketch like this. I definitely see it in a different light now. Thanks! Curator: My pleasure. Considering the means and the context transforms how we see, doesn't it?