Portret van Joseph Joachim 1917

Editor: Here we have Ferdinand Schmutzer’s “Portret van Joseph Joachim,” created in 1917. It’s an etching, a print on paper. The mood feels quite intimate to me, like a glimpse into a private moment. What do you see in this piece, beyond the excellent beard? Curator: Oh, that beard is certainly a force of nature, isn't it? But more profoundly, I see a convergence of artistry meeting artistry. Joachim, the legendary violinist, immortalized by Schmutzer’s hand… or rather, his etching needle. Imagine the sounds Joachim conjured, the stories told through his bow. Schmutzer captures a similar emotive capability in his lines. The soft hatching that suggests form, and the contrast creates drama as sharp as a perfectly tuned G string. Do you find the textures lend a sonic quality to the image? Editor: That's a beautiful connection – sound in the visual! The way the lines almost vibrate... I hadn't considered it that way, but I can see it now. How does knowing it’s an etching influence your understanding? Curator: Knowing it’s an etching colors everything, really. Etching allows for this incredible delicacy. It suggests that Schmutzer observed Joachim intently, noting the play of light across his face, the intensity in his eyes. Etching has its own, subtle voice, like the echo of a violin. Perhaps it helps whisper stories that would be shouted in paint? I wonder if Schmutzer had the performer in mind as he drew, did his sounds shape his impression of the man, like a second instrument he knew how to play? Editor: So, the medium itself contributes to the intimacy we were discussing. That makes me think differently about portraiture in general. Curator: Absolutely. It becomes a duet, a conversation across time and talent. Seeing it this way I can hear echoes of the artwork’s music anew. What do you take away, now, about capturing someone on paper?