Figuurstudies c. 1915s - 1925s

Curator: My first impression is of understated elegance; the figures rendered with just a few lines yet possessing undeniable volume. Editor: That's interesting, because when I first looked at this pencil sketch entitled "Figuurstudies" by Isaac Israels, created sometime between 1915 and 1925 and held at the Rijksmuseum, what strikes me is the almost casual nature of the poses. These are working drawings, perhaps capturing models in the midst of rest or preparation. Curator: Indeed. Consider the artist's process here: the very visible, almost raw, quality of the pencil lines on the page. These drawings seem more focused on quickly capturing form and gesture rather than idealized beauty. There is almost no blending. The hand is very visible in the making. Editor: From a formalist perspective, notice how Israels uses the contrast of light and shadow—achieved through varied pressure on the pencil—to create a sense of three-dimensionality, to articulate mass. Also, the way he allows negative space to define the forms; it directs our attention and makes these pencil studies stand out. Curator: Precisely, and I would argue the materiality of the paper and pencil also plays a key role. This isn’t about oil paint or marble; it's about accessibility. The artist capturing intimate observations, perhaps studies for larger works, in a way that feels immediate and unfiltered. The nudity as well places the work in an environment, of the classroom and atelier, more than just in purely representational practices. Editor: I concur, but that’s a formal reduction; for me, it's also about how these formal choices elicit a specific emotional response in the viewer. The realism provides these quick sketches an intimacy, like viewing a private moment. The viewer is positioned as a silent, voyeuristic observer. Curator: I agree. Viewing “Figuurstudies” provides insights not just into the finished piece, but the artistic journey, capturing bodies at rest with light and shadow creating a subtle visual pleasure, highlighting everyday gestures and processes rarely seen. Editor: Yes. I find the raw immediacy of this preliminary study allows for the contemplation of form stripped bare. A testament to the power of suggestion and aesthetic minimalism.