Staand paard, van achteren 1815

Curator: Here we have Jean Bernard’s “Staand paard, van achteren,” or “Standing Horse, from Behind,” created in 1815. The Rijksmuseum holds this small drawing made with pencil on toned paper. Editor: There's something wonderfully vulnerable about it, don't you think? The horse is facing away, almost as if it's turning its back on the world, or perhaps on us. Curator: The position of the horse is interesting; we're invited to consider its form, its musculature, almost dissecting the animal through observation. During this period, we see increased intersections of scientific illustration with the artistic gaze. How does that strike you? Editor: Dissecting is a strong word! But I see what you mean. I am also just thinking how this angle subverts power, right? Instead of a majestic, charging steed, we have a somewhat homely rear view. A really contemporary take, like questioning idealized portrayals, even back then! Curator: Yes, a deconstruction, perhaps even unintentionally, given the art historical context of the time. And that the work probably comes from Bernard's sketchbook offers another layer of interpretation, as well. A raw observation removed from formal constraints of larger commissions. How do you feel about the choice of medium? Editor: The pencil lends itself to the intimacy. You can see the sketchy lines, the artist working things out. There is a tangible sense of process. Makes you want to pick up a pencil, too, and just start drawing, flaws and all. Curator: Precisely. It captures a fleeting moment, making us consider how representations of animals reflected broader cultural values. In a way, even then, the "Standing Horse, from Behind," presents a critical examination of power dynamics, domesticity, and our relationship to the natural world. Editor: For me, it boils down to this horse and I just having a quiet moment together. It's honest, and quirky, and kinda beautiful in its own unassuming way. That's all.