Portret van Hendrik van Wijn 1791

Editor: This is "Portret van Hendrik van Wijn," a pencil drawing from 1791 by Reinier Vinkeles, held at the Rijksmuseum. The aged paper gives it such a wonderful, almost sepia-toned quality. What really strikes me is how formally presented it is; it seems to focus entirely on geometrical presentation above almost everything. What do you see when you look at this portrait? Curator: From a formalist perspective, I'm immediately drawn to the rigorous structural elements. Note how Vinkeles has framed the portrait not once, but twice – first within the drawn frame and then by placing that image upon a rectangular plinth, all constructed within an imagined, neatly-organised, three-dimensional plane of evenly stacked bricks. What does this elaborate layering do to our perception of the subject, Hendrik van Wijn? Editor: It seems to further isolate the subject within a constructed space. Like he's being presented as an idea almost as much as an individual? The layering emphasises the artificiality, drawing attention to the presentation. Curator: Precisely. The structural geometry imposes a sense of order, control, and deliberate artistry, so this is not a candid portrait. Do you notice any dissonance between the structural, geometric shapes and forms versus the flowing organic shapes of the face or clothing? Editor: Absolutely. The softness of his face and the curls in his hair stand in sharp contrast to all those precise lines and brickwork surrounding the frame. Curator: Consider that tension. Vinkeles has intentionally set up this play between the constructed, almost architectural surrounding elements, and the organic form of the human face. It creates a visual push and pull. Are you at all reminded of "framing" of portraiture by any particular historical moment? Editor: That's a really interesting question. Perhaps something neoclassical that plays with both presentation of idealized geometry, and the almost "realistic" element that humans introduce? Curator: Yes, indeed. So the artist creates dialogue between geometric formality, and his subject in this print. An intriguing dichotomy, indeed. Editor: I'm now much more aware of how Vinkeles uses form to communicate ideas of status and the interplay between reality and artificiality. Thanks! Curator: It has been a pleasure to unpack this artwork's structure. Hopefully it will lead to further investigations by all.