Zes mannenhoofden van verschillende menselijke rassen 1836 - 1912

Curator: Before us we have Isaac Weissenbruch's "Six Heads of People of Different Human Races," a graphite drawing that resides here at the Rijksmuseum. It was created sometime between 1836 and 1912. Editor: My immediate impression is one of cool detachment. The grey tones and the sheer number of subjects presented in near-identical profile create a sense of scientific observation rather than intimacy or emotion. Curator: Precisely. And it's critical we understand the era in which this was made. In the 19th century, scientific racism was pervasive. Weissenbruch’s work needs to be contextualized within the colonial power structures and pseudoscientific methodologies of the time, focusing particularly on physiognomy. Editor: I see what you mean. There’s a rigid order and implied hierarchy established by the arrangement and uniformity of the portrayals. Still, regardless of how the subject is intended to function symbolically, you have to acknowledge that it’s incredibly rendered—look at the detail in the individual hairs or feathers, captured expertly by varied graphite strokes. Curator: These very marks of skill become implicated in a troubling enterprise. We need to address the objectification and how supposedly objective renderings like these can contribute to systems of discrimination. How is this seemingly neutral medium weaponized when the portraits become documents? Editor: I understand, but as a student of aesthetics, I still fixate on the application of the medium—that gradation from shadow to light on their features. I find value simply in the elegant rendering itself, without condoning any ideological context. Curator: I recognize that aspect as well, though separating the artistry from the work’s complicated history seems like a dangerous path, particularly with pieces such as this. I believe our audience must know the truth of history, so we can break through it, and begin to establish true agency for the people depicted in this sketch. Editor: So it goes; I will agree to disagree! Still, it's given me plenty to ponder. Curator: Indeed. The beauty and the unsettling nature of Weissenbruch’s piece are eternally bound together and cannot exist on their own. This artwork compels us to engage with that struggle and to push forward, as uncomfortable as the road is.