Twee studies van een haas 1872 - 1873

Editor: So, this is "Two Studies of a Hare," from around 1872-1873, by Johannes Tavenraat, done with ink on paper. I'm really struck by how raw and immediate the drawing feels, especially the bottom hare – it’s almost like a quick sketch from life, capturing a fleeting moment. What do you see in this piece? Curator: You’ve nailed the immediacy. For me, it's the vulnerability Tavenraat captures. Look at the relaxed posture of the top hare, marked as “leger”—at rest. Then consider the lower one: the darker, heavier ink, the more defined details – it feels almost… lifeless, doesn’t it? Editor: Yes, definitely. The contrast is really striking. Curator: I think Tavenraat’s showing us two sides of existence, perhaps even mortality itself, with this stark contrast. It's like he's asking us to reflect on the fragile beauty of life in its quietest moments, versus its stark end. Editor: That's a much deeper reading than I had initially, but I see what you mean now! Do you think the contrast was intentional? Curator: Oh, absolutely. I mean, an artist doesn't just throw ink at paper; every stroke, every shadow is a choice. Tavenraat carefully contrasted light and shadow, movement and stillness. What does that provoke in you? Editor: Well, now that I consider the contrast, I start thinking about how life can be both still and active, delicate and – gone. Thank you! I hadn't thought to reflect on it that way before. Curator: It's amazing what a couple of sleeping, or not, hares can tell us, isn't it? Sometimes, it's the simplest images that hold the most profound truths.