Kerk omringd door bomen 1890 - 1946

Curator: This delicate pencil drawing is titled "Church Surrounded by Trees," by Cornelis Vreedenburgh, made sometime between 1890 and 1946. You can find it here at the Rijksmuseum. Editor: Well, my first impression is one of quietude. The lines are so soft, it almost whispers. There's a stillness to the scene. A hidden solemn beauty within those marks of pencil on paper. Curator: Vreedenburgh's skillful manipulation of the pencil really stands out. Note how the density of marks create shadow, and light emerges from areas of sparse detail, it indicates a rapid but controlled hand. I find the composition interesting too; he doesn’t try to idealize, the church is just there, another structure amidst a natural backdrop. Editor: Absolutely! And there’s something incredibly inviting in the apparent simplicity. It almost feels like a glimpse into the artist's intimate moment of observation. Like a half-remembered dream. I'm wondering about the context in which the church exists – what purpose did it serve in the community and, considering its depiction nestled among the trees, what meanings are projected in regards to that church being set within a community and within nature? Curator: A fascinating reading of his marks, Cornelis Vreedenburgh had close ties to several artists and it would not surprise me if this pencil drawing of ‘Church Surrounded by Trees’ was drawn as an intimate rendering on his everyday walks as an exercise to better capture tonal variety, mark making and structural shapes through a familiar and quickly rendered scene in his surroundings. Editor: The unfinished parts make my imagination work overtime – filling in gaps that were purposely, maybe playfully, left open. I get transported to that peaceful space. You almost feel the quiet air surrounding you. Curator: Exactly. It is a work that emphasizes, for me, that an unrefined state in the production of an art piece reveals as much, if not more, of its nature and meaning. Its materials and making are transparent, humble even, but very deliberate and thoughtful when reflecting on a final piece. It seems Cornelis Vreedenburgh succeeded at just that, an immediacy that invites pause and contemplation on materiality of the scene as well as his media used in order to share that world with us. Editor: I completely agree. Thank you! It’s a great reminder that something doesn't have to shout to be heard, or use vivid bright colors to hold deep emotion, isn't it?