Ontwerp voor raam in het Noordertransept in de Dom te Utrecht c. 1934

Curator: Immediately striking. There’s an almost brutalist quality to it, and a somewhat restricted palette—mostly ochre and red, divided into distinct geometric shapes. Editor: This is “Ontwerp voor raam in het Noordertransept in de Dom te Utrecht,” a mixed-media piece – stain and paint on what appears to be a mural – created circa 1934 by Richard Nicolaüs Roland Holst. It is currently held in the collection of the Rijksmuseum. Curator: Considering its intended use, as a design for stained glass, the choice of such heavy, earthy colors seems unconventional. I am intrigued by this rejection of the ethereal quality usually sought in sacred spaces. Editor: Precisely! The symbolism leans heavily into the terrestrial rather than the divine, perhaps mirroring societal anxieties of the interwar period. Red, often associated with passion and sacrifice, dominates the lower register. Is it, perhaps, representative of humanity’s base nature before redemption? The rendering also bears a resemblance to late gothic architecture. Curator: Structurally, note the rigid geometry of the forms and their dark outlines, features further grounding the composition and minimizing spatial illusion. The forms resist easy recognition, but there's an abstracted hand reaching in from the upper left. Editor: A very astute observation. In religious iconography, a hand, especially descending from above, is often seen as a symbol of divine intervention or blessing. Here, though, it seems almost… trapped within those rigid boundaries you noted. Curator: The texture also seems critical. There’s a definite sense of layering, adding to its robust presence, the visible texture enhancing its impact. It makes me consider the role of preparatory studies in illuminating the essence of final work. Editor: Indeed, by viewing this “Ontwerp” – or design – we’re granted unique insight into Roland Holst's creative process. This work speaks less of stained glass's traditional ethereal qualities, instead of it as a powerful, almost unsettling communication. Curator: I concur; that subversion renders the visual all the more powerful. Editor: An arresting work that challenges conventions.