Buste van een jonge vrouw by Godfried Schalcken

Buste van een jonge vrouw 1653 - 1706

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drawing, paper, pen

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portrait

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drawing

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baroque

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paper

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pencil drawing

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pen

Dimensions height 202 mm, width 149 mm, height 150 mm, width 127 mm

Editor: This is "Buste van een jonge vrouw" by Godfried Schalcken, created sometime between 1653 and 1706. It's a delicate drawing in pen and pencil on paper, housed here at the Rijksmuseum. It's just a head and shoulders of a woman in an oval frame; the composition seems simple, but there's something captivating about the lines. What do you see in this piece? Curator: I am immediately struck by the artist's manipulation of line and form. Consider the use of the oval – it's a classic formal device for portraiture, yet it isolates the figure, intensifying the viewer’s focus on her inherent qualities. Editor: Her inherent qualities? Like what? Curator: Specifically, the play of light and shadow across her face. Note the precise hatching Schalcken employs to define the contours of her cheek and jawline. This creates a three-dimensionality using purely linear means. Furthermore, examine the textile – its delicate rendering implies a luxurious fabric, its folds arranged in a cascade of visual rhythm. Editor: I see, it's not just what it is, but how it's made, and what that construction tells us. The dress is very impressive. Curator: Precisely! Observe also the delicate balance achieved between areas of dense, active lines and the comparatively blank space of the paper. This tension contributes to the overall visual dynamism. Schalcken's intention isn't solely mimetic. The work has a compositional balance that goes beyond a reproduction. Editor: So, it is almost as if he is using the subject matter to test composition and presentation styles? I can see the artist trying to strike a fine balance and to show skill, more than document likeness. Curator: Precisely. Through masterful formal control and technique, Schalcken reveals not merely a young woman but, dare I say, unlocks new levels of composition. Editor: I never considered approaching portraits from a purely construction-first, aesthetic viewpoint. Curator: Focusing on construction first brings forward meaning, the core essence of how visual language delivers communication.

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