Ruiter onder een boom 1848 - 1888

Curator: Before us, we have Anton Mauve's "Ruiter onder een boom," or "Rider under a Tree," likely created between 1848 and 1888. It is currently held here at the Rijksmuseum. Editor: Well, my first thought is that this sketch has a quiet intensity. The stark contrast and loose handling of materials, I would guess pencil or charcoal, create a rather somber atmosphere. Curator: Yes, it's striking how Mauve captures a sense of intimacy within a rather everyday subject. His place within The Hague School shows their collective interest in the Dutch landscape, focusing on rural life and everyday scenes, much like this horse and rider under the boughs of a looming tree. The rapid nature of the marks reflects the rising popularity of working "en plein air," reflecting broader societal shifts towards valuing lived experience. Editor: Agreed, and what resonates with me most is the obvious lack of refinement. This piece displays more utilitarian aspects of image making as record-keeping. Its creation isn't as concerned with our conventional aesthetics, it’s closer to labor—almost cartographic, yet still artistically potent. Curator: Interestingly, Mauve was, of course, Vincent van Gogh's cousin-in-law, and had an early influence on his artistic development. You can definitely see some aesthetic similarities with van Gogh's sketches, although here, there's perhaps a softer touch, less drama than van Gogh usually brought. Editor: Exactly! That association really underscores my interest. Think about it – materials, patronage, skill transmission… They all illustrate how artistic practice is embedded in both physical and societal economies. A raw study such as this gives more insight into a whole social structure. Curator: Looking at "Ruiter onder een boom" offers an insightful peek into the artistic training of the period, it humanizes our experience of art production, seeing past art’s market value. Editor: Precisely. We tend to fixate on finished artworks, which often obfuscates the artistic, financial, and material investments which sustain art production. Curator: Very well put. These more ephemeral artworks are critical for broadening our understanding. Editor: Agreed, reflecting on this sketch reminds us that artistic expression thrives from experimentation in media, to an artwork’s historical contexts.