Skitsebog med studier af dyr, fisk og planter samt enkelte figurstudier 1905 - 1907

Editor: Here we have a sketchbook page by Niels Larsen Stevns, dating from around 1905 to 1907. It’s a medley of pencil and ink drawings on paper, seemingly studies of animals, fish, plants, and figures. It feels like a glimpse into the artist's private thoughts and everyday observations. What jumps out at you when you look at this piece? Curator: It's intriguing how Stevns’s sketchbook unveils the working methods of an artist deeply immersed in the Danish cultural context of the early 20th century. The rapid, almost frantic sketches contrast sharply with the meticulous academic painting that was still valued at the time. This speaks to a shift in artistic values and the growing influence of naturalist philosophies, a focus on observing the natural world without idealization. What might the juxtaposition of fragmented text and sketches on the page reveal? Editor: Perhaps it hints at the economic realities of the time – the need to be frugal with materials, using every available space. Or, on a deeper level, is he rebelling against the constraints of traditional art education? Curator: Precisely! Sketchbooks often serve as spaces for artistic experimentation, free from the pressures of the market and public expectation. But think about how Stevns may have envisioned the "public life" of such private materials, and their ability to convey themes around authenticity. What could these raw studies tell us about his ambitions? Editor: Maybe he aimed to capture a raw, unvarnished truth. Seeing this makes me wonder about all the labor and hidden practices behind art in museum collections. Curator: Absolutely. And how our perception of “finished” artworks is altered when we're allowed to see process itself. It provokes us to ask broader questions: how do museums shape value around artworks and what voices are being shown? Editor: I see your point. Examining the artist’s practice through their sketchbook certainly demystifies the art-making process and questions the politics around the works shown to the public.