Eenden c. 1856 - 1870

Editor: We’re looking at "Eenden," or "Ducks," a pencil drawing on paper by Maria Vos, created sometime between 1856 and 1870. It’s currently held at the Rijksmuseum. It's a page full of duck sketches, like studies from a notebook. It feels intimate and immediate. What stands out to you in this piece? Curator: The repetition is very powerful. It reminds me of early bestiaries, where animals were not just creatures, but symbols, moral examples. Though less formal, this echoes that tradition. Notice how each duck, while seemingly similar, carries a slightly different pose, a unique energy. Consider the cultural weight we give to waterfowl - representations of domesticity, nature, perhaps even foolishness or grace, depending on the cultural context. How do those associations resonate with you here? Editor: I hadn’t thought of them as symbols, more as simple studies of form. The various poses, you're right, it almost looks like the artist is searching to discover each ducks' particular identity and unique quality. Curator: Exactly. The pencil, as a medium, contributes. Pencil allows for the quick capture of fleeting observations, a sort of immediate translation of the observed world. And what might the choice of ducks say about Vos herself, or her place in Dutch society? Perhaps reflecting a specific type of domesticity available to women artists of the time, closely connected with nature, but separate from city life. What do you make of their stillness? Editor: Interesting point; this reminds me of something from art history class, with specific gender roles related to nature or the household. I guess these simple sketches invite us to delve deeper into social history. Curator: Precisely. Symbols whisper stories across time. Even something as seemingly simple as a duck. It’s not just about what's on the page but about all the history and ideas that inform its interpretation. Editor: This really opened my eyes. It’s like each duck holds a hidden narrative, thanks!