Ruiter 1873

Editor: Here we have George Hendrik Breitner’s "Ruiter," created in 1873 using pencil on paper. The sketch feels incredibly sparse, almost fleeting, with the horse rearing up in this vast, empty space. What can you tell me about it? Curator: From a materialist perspective, let’s consider the accessibility of pencil and paper in 1873. Were these materials readily available to all artists, or did Breitner's access speak to a certain social standing? How did the specific qualities of the pencil -- its hardness, its lead content -- influence the marks he could make, and how does that relate to the spontaneous feel you noticed? Editor: That’s fascinating! I hadn’t thought about the social implications of the materials themselves. Does the medium choice relate to his impressionistic style? Curator: Absolutely. The ephemeral nature of a pencil sketch lends itself well to capturing fleeting moments, which is key to Impressionism. Think about the labor involved: quick sketches allowed for capturing multiple observations, efficiently using material to generate studies and build understanding for the labor of larger works, playing with impressions rather than labored details. The bareness and seeming simplicity point toward a sophisticated manipulation of labor. How does the horse as subject then fit within that economy? Editor: Well, perhaps the horse signifies wealth, power and even the military complex. Its pose here is very dynamic, less about labor, more about movement and agency. Curator: Precisely! And we must consider where he might have been sketching: was it a controlled equestrian setting, or something seen and captured in an instant? Editor: It definitely gives me something new to think about regarding the cost and process behind art making! Thank you. Curator: And I’m thinking now how this all contributes to a social narrative in Amsterdam at this time! It's a continuous dialogue.