Studieblad met ijspret, monniken en bedelaars 1839 - 1894

Curator: Looking at this sketch by Lambertus Lingeman, titled "Studieblad met ijspret, monniken en bedelaars"—or, "Study Sheet with Ice Skaters, Monks and Beggars"—dated sometime between 1839 and 1894, what impressions strike you first? Editor: The first thing that catches my eye is the seemingly casual, almost whimsical, way the artist captured these figures. Despite the detail, the lines remain loose. I wonder about the relationship between those enjoying leisurely ice activities and the marginalized individuals, such as the monks and beggars he's included. Curator: The juxtaposition is intriguing. Lingeman positions the supposed 'joyful' skaters alongside monks and beggars, drawing from figuration and genre-painting traditions to make an underlying comment on social strata. Editor: Exactly. Ice skating is presented as leisure, implying affluence, contrasting starkly with the assumed poverty of monks and beggars. This work raises many questions about how different classes and social roles interacted during the 19th century, don't you think? It’s all just quickly sketched on paper with pencil. Curator: These contrasts speak to the historical function of such figures within Dutch society, where even in merry scenes of recreation, awareness of those in religious orders, or those needing alms, were kept alive, represented by familiar figures—they formed a crucial, almost symbolic, part of the collective cultural memory. Their inclusion speaks of values of charity, reflection, or social expectation of the time. Editor: The 'study sheet' nature of the artwork also resonates. Lingeman isn't presenting a finished commentary but showing us raw observations that invite questions, like the place of labor and leisure, who has access to what activities, and at whose expense is enjoyment realized. These are questions of historical and contemporary resonance, especially since enjoyment still rests on forms of historical and contemporary exploitation of resources and communities. Curator: So this imagery reminds us that seemingly innocuous and 'incomplete sketchy' pencil drawings from someone's personal sketchbook like this can still echo historical complexities—reminding us that cultural symbols don't occur in a vacuum. They carry weight. Editor: Yes, it also encourages us to think intersectionally. Class, social role, religious order: Lingeman's artwork may prompt us to understand how such factors come together historically, inviting us to question what social justice may have looked like then and can become now.