Twee reigers aan een waterkant 1884 - 1952

Curator: It's striking how this unassuming ink drawing of two herons by Reinier Willem Petrus de Vries, dating from 1884 to 1952, offers such a direct view into the artist’s process. The rough lines almost feel like you are standing next to the artist while sketching this work. Editor: Exactly. What I notice is this sense of immediacy. The lines aren't precise but create a nice impression. What’s your take on it? Curator: Look closely. What interests me is the interplay between the natural subject matter and the artistic labor visible in every stroke. De Vries doesn't hide the means of production; we see the quick, economic marks of pen on paper. The image asks questions about art versus craft, right? Is the “high art” present because the end result imitates a drawing of two herons, or in the artistic practice of a drawing on a surface and using materials. How do you think his choice of pen and ink influences the feel of the work, versus, say, a watercolor? Editor: It definitely creates a different atmosphere than watercolor. There is a rugged feel, perhaps. I am interested in what was available at the time, though, like the pens, inks and paper qualities accessible. Does that change how the piece could have been perceived back then? Curator: Absolutely. The accessibility of pen and ink suggests a democratic approach to art making. Was the labor involved considered of little value versus painting, perhaps? Moreover, the sketch-like quality perhaps gives insight into artistic intention, or maybe even societal attitudes toward capturing nature during that era. What stories about the artist and his historical context does the medium tell us? Editor: That’s given me a lot to think about regarding materials, social context, and accessibility. It makes me appreciate how the materials and processes contribute to the artwork. Curator: Indeed. Considering the materials reveals deeper layers of meaning in what might initially appear as a simple sketch.