Gezicht op huizen aan de Voorstraatshaven te Dordrecht c. 1898 - 1899

Curator: Before us, we have Willem Witsen’s "Gezicht op huizen aan de Voorstraatshaven te Dordrecht," a drawing likely made between 1898 and 1899. It resides here at the Rijksmuseum. Editor: My first impression is… charmingly unsettling. It’s just a quick sketch, yes, but the perspective is wonky and the details are sparse, making the architecture feel almost ghostly. What sort of paper did Witsen even use for this? It appears thin and absorbent. Curator: You picked up on its provisional qualities right away. This cityscape appears to be rendered in pencil and ink, quite possibly from a personal sketchbook, if you note the quick handwritten notes visible on the right. Editor: Personal sketchbook! That’s the key. The use of inexpensive materials indicates that this isn't intended as a final, polished product, but as a record, a tool. It invites us to consider art not just as object but also as process. This piece might unveil much about Witsen's work practices if scrutinized more closely. Curator: It gives the impression that Witsen spontaneously wanted to catch the scene – the moment. The slight imperfections almost lend it a poetic realism, don’t you think? A blur of what reality felt like. Editor: A feeling perhaps, yes, though this emphasis on individual sensation risks overshadowing the broader material conditions that made this artwork possible. Where did Witsen get his drawing supplies, how much did they cost, and who produced them? These details illuminate art production as labor. Curator: I see it more as an intimate peek into Witsen's creative mind; it almost feels like overhearing a private thought. The simplicity in form enhances that experience of witnessing the everyday turned extraordinary through art. Editor: Maybe, but thinking about material choices reframes this “private thought.” What other affordable options were available for an artist working at the turn of the century? This sketch could then represent constraints as much as freedom. Curator: Alright, alright, enough about materials. I still perceive more freedom than limitation in its execution. The casual nature feels liberating, doesn’t it? Editor: Point taken! Both approaches add to understanding. It’s helpful to appreciate spontaneity as well as to examine art’s material and economic underpinnings, broadening our vision. Curator: Agreed. In that case, a beautiful collaboration we've had! Thanks for your viewpoints.