Paard bij aanlegsteiger in Normandië 1832 - 1840

Curator: Here we have Eugène Lepoittevin’s "Paard bij aanlegsteiger in Normandië," or "Horse by Landing Stage in Normandy," dating from between 1832 and 1840. It's an ink and watercolor drawing on paper. Editor: It has a melancholic, almost faded quality to it, like a memory retrieved from a dusty attic. The color is very muted. Curator: Indeed. Lepoittevin, working within the Romantic tradition, captures a sense of everyday life touched by a gentle melancholy. I imagine him sitting right there, sketching on the spot. One wonders what Normandy was like for him at the time, to capture a working scene so serene! Editor: It's interesting how he uses ink and watercolor to depict this harbor scene, highlighting the labor aspect— the horse patiently waiting by the pier, maybe carrying goods. The paper itself looks aged, adding a layer to our understanding of material. Was it intended to look like this? Curator: It is as if the artist also sees time, memory and the physical transformation of Normandy. Editor: Look at the texture in the wood fence and the rough shoreline...I'm so impressed how the artist coaxes those kinds of tactile details from such delicate materials. It is so telling of the area where it was painted. Normandy, full of its agriculture... Curator: And the way he handles light! Notice the reflections on the water and the soft shadows that define the figures and forms in the distance, as if the artist intended to put viewers at peace. Editor: Yes, even the medium supports this feeling. Watercolor lends itself so well to capturing light and shadow, in particular. The layered applications of ink. The man knew the tools of the craft! Curator: The piece offers a poignant reflection on a fleeting moment in time. It’s a window into Lepoittevin's inner world, transformed for all of us to see and enjoy today. Editor: Absolutely! It’s about acknowledging both the artist’s labor and our own interaction with the drawing and materials across the boundaries of space and time. A convergence of the artist's memories and our present observations.