Staande en hurkende figuur 1921 - 1922

Editor: Here we have Isaac Israels’ “Standing and Crouching Figure,” created around 1921 or 1922. It’s a pencil drawing that gives me the impression of…motion, or maybe searching for something? What stands out to you when you look at this work? Curator: It’s interesting you say motion! I feel that too, almost like catching fleeting thoughts on paper. To me, Israels is less concerned with precise representation and more interested in capturing a raw, immediate impression of his subject. See how the lines are tentative, searching? It’s like he's trying to grasp the essence of these figures. It almost feels…intimate, doesn’t it? As though we’re glimpsing a private moment in the artist’s studio. What do you think creates that effect? Is it the medium perhaps, or the composition? Editor: I think the sketch-like quality does add to that feeling of immediacy, as if we’re seeing his first take. I guess that adds an element of honesty to it? Almost like seeing his process. Curator: Precisely! Israels wasn't afraid to leave the "workings" visible. It’s honest, it’s human, it invites us into his creative process. Look at the expressive use of line. How he uses a minimum of marks to suggest form, volume, even personality. What I admire in Israels's drawings, these seeming "snapshots" are what provide us so much valuable information. Editor: So it's almost like capturing a feeling, instead of making sure everything’s perfectly rendered? Curator: Absolutely. In many ways he was, though I would dare to say it to loud – painting, not only what he *saw*, but also how he *felt*. Which might be a distinction with very little difference! But it is exactly what makes him such a delightful, interesting figure. Editor: I didn’t notice how much the lines were communicating! Thanks, that's so helpful. Curator: And thank *you* for opening *my* eyes to how Israels still resonates with younger art lovers today!