Zwei Rinder, der etwas erhöht stehende Ochse links in leichter Verkürzung rückansichtig, den Kopf abgewandt, das rechte Rind diesem in starker Verkürzung abgewandt, eine Glocke um den Hals gebunden 

Friedrich Wilhelm Hirt's 'Two Cattle' is executed with brown ink on paper, a classic pairing that lends itself to both precision and fluidity. The choice of ink as a medium is significant here. Unlike paint, which can be layered and reworked, ink demands a directness and confidence of line. We see this in Hirt’s drawing, where each stroke captures the essential form and weight of the animals. The lack of shading directs our focus to the contours of the cattle, emphasizing their muscular bodies and the texture of their hides. The drawing, with its economic use of line, hints at the efficiency and calculation that underlies agricultural production. The ink doesn't allow for second guesses. It invites us to consider the labor involved in animal husbandry and the broader economic context in which these creatures exist. Hirt's work reminds us that even the most seemingly simple drawings are rooted in real-world processes.