Kruiend ijs op de Rijn bij Arnhem, 1855 1855

Curator: This pen drawing is titled “Kruiend ijs op de Rijn bij Arnhem, 1855,” which translates to "Ice floes on the Rhine near Arnhem, 1855," by Petrus Kiers. It’s held here at the Rijksmuseum. Editor: It has a strange, almost unsettling feeling, doesn’t it? The figures are rendered with a spindly, caricatured style. I immediately focus on the way these men are given the shape of currency with these stark and economic-seeming implications. Curator: The visual language speaks volumes, particularly the coins used as heads. One bears a regal "W," likely representing Willem, while the other shows the Dutch lion. This ties into themes of national identity, leadership, and perhaps even critiques of power dynamics in Dutch society. The bones evoke death but it appears like their bodies were assembled inorganically. It feels post-industrial revolution almost, but too soon. Editor: That’s an interesting take. From a material standpoint, consider the accessibility of printmaking at the time. The decision to employ pen and ink is fascinating. Given Kiers' wider catalog, it’s indicative of a need for reproducibility. This work exists, because the medium of a graphic allowed it to be broadly accessed. Did such works appear in newspapers or other cheap periodicals? This raises questions of consumerism. Curator: It’s intriguing how such readily available materials and the mass distribution point to potentially radical political statements. The symbols invite us to consider deeper psychological layers: what are the undercurrents in society at this period that need a reading to exist between politics and art? Editor: Absolutely. And it all boils down to accessibility and how easily people can decode such potent imagery that carries weight over decades, no matter the era. Curator: These figures become embodiments of wealth or economic status, rendered as slightly absurd, frail forms. Editor: Agreed. These are haunting representations. Thank you for opening my eyes to the possible psychological connections present in these visuals and in Dutch society at this moment.