Ontwerp voor wandschildering in de Beurs van Berlage: staande figuur, wijzend naar rechts 1869 - 1925

Curator: Let's discuss this fascinating sketch by Antoon Derkinderen: "Ontwerp voor wandschildering in de Beurs van Berlage: staande figuur, wijzend naar rechts," which roughly translates to "Design for a mural in the Beurs van Berlage: standing figure, pointing to the right." It's believed to be from between 1869 and 1925 and done in pencil. My first reaction is one of apprehension. Editor: It evokes a somber mood, doesn't it? The figure is draped, face obscured by hands. The pointing gesture feels like an accusation or warning, staged on toned paper with these very intentional light pencil strokes, all making the piece feel unfinished yet powerful. But what do we know about the material context for this? Curator: Well, Derkinderen was commissioned to create murals for the Beurs van Berlage, a stock exchange building that was really a Gesamtkunstwerk, a total work of art integrating architecture, painting, sculpture, and decorative arts. This drawing likely served as a preparatory study for one of those murals, using accessible pencil on paper, which was economical for studies. Think about the labor required not just in the final murals, but in each step of developing these images for public consumption. Editor: That's compelling when thinking about Derkinderen operating in the Symbolist and Art Nouveau movements; it's hard to separate the image from the societal mood of the time. It also brings forward a figure hidden or anonymous as a way to discuss labor, production and personhood that certainly questions hierarchies found within class boundaries. Curator: The act of pointing and the covered face suggests someone bringing awareness to something hidden or unseen. Could be truth, or injustice, pointing towards those in power at the stock exchange who would exploit the labor class for economic benefit, given his historical context. The obscured face is fascinating here, concealing the individual yet amplifying their gesture. The use of simple pencil on paper for the sketch is a reminder of the basic tools that underpin even the most elaborate artistic visions. Editor: Absolutely. What appears simple, formally, then, underscores a depth that speaks volumes, particularly when considering how this sketch served within broader systems of power and capital within the context of labor during this time. So much for an "unfinished sketch!" Curator: Indeed. There’s a complete, powerful statement made. Editor: And even the most preliminary sketch may indeed bear traces of something that lingers far beyond its medium.