Knielende Lodewijk XI van Frankrijk 1874 - 1925

Editor: This ink drawing on paper, titled "Kneeling Louis XI of France," made sometime between 1874 and 1925 by Jan Veth, depicts the king with a dog at his feet. The king looks contemplative, maybe even weary. What strikes you about it? Curator: The process is where I’d begin. Notice the immediacy and fluidity suggested by the ink. It’s a sketch, right? A working drawing? Editor: Yes, I believe so. It’s in the Rijksmuseum’s collection. Curator: Think about that context. A museum displaying a sketch. What does it tell us about how artistic labor is valued and presented? What once might have been a preparatory step is now presented for its own inherent qualities. We’re invited to admire the artist’s hand, the quick decisions, rather than solely the finished product. Editor: So you’re saying the display itself comments on art's production? Curator: Exactly. And consider the material: ink on paper. Humble materials, accessible materials. This contrasts with the traditional grand portraits of royalty. By choosing these materials, and this style, does Veth perhaps democratize the image of Louis XI? Or maybe question the power structures represented? It challenges the high/low art divide. What do you think? Editor: I hadn't thought of it that way, but it makes sense. The medium and style certainly make it feel less formal, more intimate, accessible. It shifts the focus from royal power to, perhaps, individual contemplation or even vulnerability. Curator: Precisely. And that vulnerability, presented through these accessible materials, creates a dialogue about power, representation, and artistic value. It is all there: the artist’s choices of material and the very display of the artwork impact how we perceive the subject and the art world's values. Editor: That’s a powerful way to look at it. I appreciate how the focus on materials and display reveals so much about the art and its context!