Wapensmid aan het werk 1822 - 1880

Curator: What strikes me immediately about Reinier Craeyvanger's "Wapensmid aan het werk," made sometime between 1822 and 1880, is its incredible intimacy despite depicting such a seemingly robust trade. Editor: Intimacy is a perfect word. I’m drawn to the quiet domesticity of the scene – the strong diagonal shadows contrasting the vulnerability of the mother and child. It gives a serene feeling. Curator: That interplay of light and shadow really anchors the composition, doesn’t it? The darkness emanating from the forge and fireplace seems almost to protect the glowing tenderness of the family, a key emotional symbol of the drawing. Editor: Absolutely. And while the armor is beautifully rendered, implying a history of conflict, it's set aside on the floor. Do you think that is to imply a new generation where the sword can become a plow? A hopeful aspiration for that historical time period to ensure a period of peace? Curator: I see your point. I wonder though, given the Romantic movement's interest in historical subjects, is Craeyvanger making a broader statement about industry and the individual in a changing world? There’s such emphasis on craft here and, on another register, the importance of the family. Editor: Perhaps he’s also responding to an idealized version of masculinity at this time. A softer side is presented in the art with the woman and child right there, together with labor to survive. His identity depends on the tools on his hands but has responsibility for that nurturing bond in equal parts. Curator: It certainly complicates traditional notions of heroic masculinity. Made with ink on paper, Craeyvanger is using an unpretentious medium to portray quotidian labor and to emphasize an aesthetic sensibility during the romantic period of the 19th century. What are you walking away with after spending time looking? Editor: The drawing challenges the very stories societies tells itself about labor, family and conflict. It makes me want to question if some societal views are really mutually exclusive to each other, such as labor versus peace. What is your own thinking at the moment? Curator: It's confirmed my appreciation for how the visual can preserve those nuanced social attitudes and aspirations long after they’ve vanished. A humble celebration, indeed!