Portret van Jan Mankes 1917

Curator: Here we have Chris Lebeau's 1917 pencil drawing, "Portret van Jan Mankes," currently held at the Rijksmuseum. What’s your immediate reaction? Editor: Stark, isn't it? Utterly devoid of flattery, yet the artist has really caught something vulnerable in those eyes. It feels intensely private, almost voyeuristic. Curator: The beauty, as I see it, arises from its very simplicity. Lebeau masterfully employs pencil, achieving nuanced gradations of light and shadow, thereby creating a highly realistic, almost photographic representation. Consider the texture of the hair, juxtaposed against the smooth planes of the face. Editor: Right, right. The technical stuff is undeniable, but that tight-lipped expression, that slightly averted gaze… There's an unsettling honesty that transcends mere representation. I keep imagining Mankes trapped or cornered, maybe the drawing’s dark, close background suggests it. Curator: One might say Lebeau's work transcends the limitations of pure realism. While adhering to accurate anatomical details, there's also a clear element of emotional expressiveness. Observe, for instance, the subtle asymmetry of the eyes, lending the sitter a certain depth of character. Editor: Depth or melancholy, I'd argue. He looks burdened somehow. Wonder what Lebeau saw in Mankes that day—did he really intend such gravitas, or did his hand simply reveal it? It seems so...exposed. Like seeing someone's diary left open. Curator: Indeed, the intimacy of the piece is undeniable, offering viewers an unfiltered glimpse into the sitter’s inner state. Its power lies not merely in technique, but in its capacity to evoke a feeling of human connection, a moment frozen in time. Editor: I see it now: Lebeau lets Mankes be himself, shadows and all. Makes one reflect, doesn't it? On how portraits so easily veil or hide... how rare it is to witness a soul, raw and revealed, in pencil strokes on paper.