Zelfportret en face na bezoek: B-1-1, 28 januari Possibly 1942

Editor: Here we have Cor van Teeseling's pencil drawing, "Zelfportret en face na bezoek: B-1-1, 28 januari," possibly from 1942. It's a very delicate self-portrait, almost ethereal. I’m struck by the apparent vulnerability in his expression. What can you tell me about it? Curator: This piece resonates deeply when considered against its historical backdrop. If it is indeed from 1942, we're in the thick of World War II. Does the seeming vulnerability suggest more than just a personal emotion? Perhaps it reflects the collective anxiety and precariousness of life under occupation. Editor: That makes sense. It's more than just a likeness, then; it's a document of a specific time. Curator: Precisely. The intimate nature of a self-portrait combined with the sparseness of the medium – pencil on paper – further intensifies the emotional weight. Consider how artists during wartime often turned to introspection as a form of resistance, a way to assert their individuality against oppressive forces. Editor: So the act of creating becomes a political act in itself? Curator: Exactly! By focusing on the self, van Teeseling reclaims agency. The fragility of the lines mirrors the fragility of human existence, a potent statement in a period defined by violence and uncertainty. How does knowing the potential context change how you view the artwork? Editor: It shifts everything. It's no longer just a drawing, but a quiet act of defiance. Thank you! Curator: And thank you for noticing the delicate strength within it! It’s a powerful reminder of art's capacity to bear witness.