Antropomorf figuur met gesloten ogen in profiel naar rechts Possibly 1944

Curator: Take a moment to consider this piece, “Antropomorf figuur met gesloten ogen in profiel naar rechts,” which translates to “Anthropomorphic Figure with Closed Eyes in Profile to the Right.” It's an ink drawing, likely from 1944, by Samuel Jessurun de Mesquita and held here at the Rijksmuseum. Editor: It's surprisingly serene. Despite the starkness of the lines, the figure has a kind of peaceful resignation. I'm immediately drawn to the vulnerability conveyed in the closed eyes and simple rendering. Curator: The interesting thing about de Mesquita is how he blends modernist approaches with traditional techniques. Notice the economic use of the pen and ink medium. There is an evident simplicity to it, stripping away detail. We might explore the socioeconomic conditions in the 40s and the shortage of art supplies to better appreciate these sketches as more valuable art pieces. Editor: Absolutely. Considering the probable date of 1944, the backdrop of World War II adds another layer. The figure could represent a populace weary or in mourning, their internal experiences overshadowing everything. This brings to the foreground the artist's experiences, as a Sephardic Jew living through Nazi occupation. What institutions were available or supportive of this particular artist? Curator: The institutional support he received or did not receive profoundly impacted his career, and perhaps even dictated the themes present in this body of work. Consider how his social standing would have shaped the perception of the artwork by critics at the time, if there even were reviews. Editor: That is crucial to understanding the broader social context. The act of depicting a nude form, especially in that era, had political implications. Did the artist feel restricted in expression? Who was this work intended for? This adds nuance to understanding his use of basic materials to articulate complex personal feeling, as well. The material scarcity may have inadvertently become a style. Curator: Yes, understanding the interaction of medium, modernist style, the socio-political, the implied market for Mesquita, brings more depth to an analysis of his drawing practice and this artwork in particular. Editor: Examining his circumstances has shifted my perception of this nude from one of quiet repose to something far more profound and troubling.