Man trekt een kar om hout mee te vervoeren Possibly 1652

Curator: This drawing, held here at the Rijksmuseum, is attributed to Harmen ter Borch and is called "Man trekt een kar om hout mee te vervoeren," which translates to "Man Pulling a Cart to Transport Wood." It's believed to date back to around 1652. Editor: The immediate impression is one of strenuous labor; you can practically feel the strain in the man's posture, rendered with such simple, economic lines in pencil. It’s a study in effort and rudimentary conveyance. Curator: Absolutely, and focusing on those "economic lines," consider the materiality here. Ter Borch employed pencil on paper – accessible materials. This piece reflects the everyday reality, the labor inherent in Dutch life of the Golden Age, a very hands-on relationship to material necessity, as shown in the need to transport wood in order to survive. Editor: The figure is anonymous, universal. He stands as a symbol for a working-class struggle that persists over centuries. The drawing captures a moment of interaction between the social body and landscape during the period of Dutch expansion and commercial success, fueled often by exploited labor. Curator: It is just that connection, the daily, mundane tasks depicted with clear observation that makes the drawing compelling. The production aspect can't be ignored: wood fueling homes and industries of the 17th century, and, furthermore, pencil manufacturing requiring graphite and woodworking to produce. Each element contributing to our narrative today. Editor: The act of pulling, particularly for something as basic as wood, points to issues of class, and speaks to an uneven distribution of labor within Dutch society. I can't help but read a critique of early capitalistic structures within that simple, almost naive image of physical struggle. How much of Ter Borch's reality are we seeing filtered in there, though? Curator: Well, it provokes such thoughts on a grand scale. We may never be certain. This drawing allows us a moment of quiet reflection, really allowing us to reconsider work processes and their role within the Dutch Golden Age through this drawing medium. Editor: A pertinent reminder of how foundational certain overlooked kinds of labour are even within national historical frameworks like Golden Ages. Curator: Precisely, and I’m particularly glad we discussed the means of making this pencil work in tandem with understanding its message and our own preconceptions regarding daily labor.