Abklatsch van de krijttekening op blad 17 verso c. 1886 - 1934

Editor: Here we have "Abklatsch van de krijttekening op blad 17 verso," a drawing made by Isaac Israels sometime between 1886 and 1934. It's graphite on paper, currently held at the Rijksmuseum. It seems like a very preliminary sketch, quite abstract. What do you see in this piece? Curator: This seemingly simple sketch provides a fascinating lens through which to examine the role of process and intention, not only in Israels’ work, but more broadly within art history. It prompts us to consider how we value finished versus unfinished works, and how that valuation intersects with gendered and racialized labor practices. Whose stories are told, and whose are erased, by focusing solely on polished final products? Editor: That’s a really interesting way to frame it. I was mostly thinking about it as a study. Curator: Exactly, and “study” implies preparation, a step towards something else, typically larger or more important. But what if the power lies precisely in this incompleteness? We have to question why preliminary sketches like this are relegated to the status of minor works when they can reveal so much about the artist’s thinking and the art-making process. Editor: I guess I've always thought the finished piece held the most significance. This perspective really flips that idea on its head. Curator: It’s a matter of challenging the traditional art historical canon. By elevating sketches, we create space to discuss marginalized voices, because the accessibility and immediacy found within Israels' quick strokes are present in folk art, political graphics, and children’s drawings. In examining seemingly casual pieces like this, we can democratize the space around art history itself. What do you think? Editor: It's like looking at the backstage of art history! I’ll definitely see sketches differently now.