Twee naakte mannen c. 1679 - 1701

Curator: Here we have "Two Naked Men" a pencil drawing created by Frederick Bloemaert sometime between 1679 and 1701. It is held at the Rijksmuseum. What’s your first impression? Editor: It feels classical, yet vulnerable. The positioning of the figures suggests a support system, physically and perhaps emotionally. It evokes Michelangelo's studies. Curator: I agree about the classical feel, likely influenced by Baroque ideals and a return to humanism. I'm most interested in the execution—the lines are simple, yet masterfully describe the human form, using humble materials. I’m curious, where would these studies have been undertaken? Who would have commissioned this type of art? Editor: Symbolically, the two figures invite multiple interpretations. The figure above, looking down, might represent contemplation or guidance, while the kneeling one shows support or submission. What symbols stand out to you within the art making practice itself? Curator: Definitely the layering. Pencil wasn’t considered as valuable as ink for example, or sculptural techniques to study anatomy. Here it seems, these drawings capture both quick studies in the academy or studio. This brings these bodies closer, the marks upon the page capture real-time practice and technique, but in what context? I wonder if these nude forms, this choice of figuration in BLO’s practice, references historical canons, or has other deeper symbolist intent. Editor: I find the tension intriguing—vulnerability intertwined with classical strength, almost longing or dependence in their poses. It certainly seems to be engaged in a visual conversation. It brings up many questions regarding human connection in relation to tradition, the history of portraying nudes, the language that has been established in drawing techniques in European Academies, all articulated through relatively available materials! Curator: It really allows the observer to contemplate our engagement with artistic process, doesn’t it? Thanks to that focus on human representation and our use of accessible art material we feel a connection, one created out of process. Editor: Indeed, revealing layers of interpretation through form and making—quite captivating!