Portret van een zittende vrouw met hoed 1886 - 1908

Editor: Here we have "Portret van een zittende vrouw met hoed" or "Portrait of a seated woman with hat," taken sometime between 1886 and 1908, likely by H. van der Zijl. The image, a photograph, is a rather straightforward portrait, but there’s a quiet formality to it that intrigues me. What captures your attention in this piece? Curator: You know, it’s funny you mention that formality because what strikes me is the tension between that and an undeniable intimacy. The woman’s posture, her direct gaze… she’s present. I find myself wondering about her world. That hat, perched just so, feels less like an accessory and more like armor, or maybe even a playful dare to the viewer. Does that resonate with you at all? Editor: Absolutely. It's like she’s both revealing and concealing herself at the same time. I hadn’t thought of it as armor, but I see what you mean. Given the timeframe, would this have been considered a radical portrayal for women? Curator: It’s hard to say definitively “radical,” but I’d argue it deviates from purely ornamental depictions of women. The realism here is sharp, even unforgiving. And remember, photography at the time still had an air of magic. This woman is not an idealized subject of painting, but a modern individual choosing how she is seen. You pick up on it—this negotiation between subject and societal gaze. Editor: So interesting! I came in seeing a formal portrait, and now I see a complex interaction between identity, representation, and… maybe even a little rebellion? Curator: Exactly! Isn’t that the best part about art? It changes the way we look and keeps whispering secrets, if we’re willing to listen.