Aangelijnde olifant c. 1904 - 1906

Editor: We’re looking at “Aangelijnde olifant” or "Leashed Elephant" by Gerrit Willem Dijsselhof, created around 1904 to 1906. It’s a colored-pencil drawing currently held at the Rijksmuseum. The composition strikes me as odd – the elephant looms so large compared to the handler. What do you notice in the relationships between the various elements within this piece? Curator: I see the tension in the drawing originating primarily from the stark contrast in scale and texture. The coarse, almost frantic strokes used to depict the elephant’s massive form create a tangible weight, a dominating presence. Note how the delicate lines forming the handler offer visual counterpoint. Are these stylistic choices random? Editor: No, definitely not. They draw my eye to these different textures. How does the rendering of space impact our reading of the drawing? Curator: Observe the flatness of the picture plane. Dijsselhof largely foregoes traditional perspective, compressing the scene and intensifying the relationship between the figures. There's a subtle tension arising from the juxtaposition of meticulous details on the handler's garb against the crude representation of depth of the arid setting. Does the reduction of space contribute to the overall feeling of unease? Editor: Absolutely. By flattening the background, Dijsselhof intensifies the confinement, almost like they are posing. Curator: It is precisely this flattening of the picture plane and compression of depth that generates an underlying anxiety in what might otherwise seem a mundane figurative work. Editor: So it's not just about what is depicted, but also *how* it is depicted that gives the drawing its specific effect. Curator: Precisely. Dijsselhof prompts the viewer to explore the essence of form itself as carrier of artistic intention and meaning. Editor: I see that tension more clearly now, thank you!