Opjagen van wild tijdens de jacht c. 1825 - 1827

Editor: Here we have Bernard Édouard Swebach’s drawing, “Opjagen van wild tijdens de jacht,” created around 1825-1827 using ink on paper. It captures a hunting scene, and I'm immediately struck by the central figure of the rider and horse leaping over a fence; there’s an almost performative aspect to it. How do you interpret this work, given its historical context? Curator: This piece provides a fascinating lens through which to examine class, power, and the construction of masculinity in 19th-century Europe. Hunting, at this time, wasn't simply a sport; it was a ritual, a carefully staged demonstration of dominance over both nature and, by extension, the lower social orders. What does the posture of the rider convey to you? Editor: I see confidence, maybe even arrogance. The way he holds the reins, his upright posture… He definitely embodies a certain sense of entitlement. Curator: Exactly. Now consider who had access to this lifestyle. Land ownership, leisure time – these were privileges deeply entwined with societal inequalities. Swebach’s drawing, while seemingly a simple genre scene, subtly reinforces these hierarchies. Do you see any other figures represented? What about those that were doing the 'Opjagen?' Editor: Yes, you can see other hunters in the background, urging dogs to chase after what appears to be fleeing hares. It’s definitely a stratified composition. Curator: Indeed, who might have been affected most negatively in such depictions? It can offer insight into who is not given power or privilege. What appears as a celebration of aristocratic life also casts light on its inherent exclusions and the labour upon which it relies. Editor: That reframes the whole piece for me. I initially saw just a sporting scene, but now I recognize its complex commentary on social structures. Thank you. Curator: It’s by interrogating these seemingly straightforward representations that we begin to uncover deeper truths about history and power. There is no art that stands alone; there is art as an ongoing mirror, reflecting power, and powerlessness.