Studies van menselijke onderbenen 1710 - 1767

Curator: Let’s take a look at this captivating drawing, "Studies van menselijke onderbenen," or Studies of Human Lower Legs. Leonard Schenk created this pen and ink, graphite, wash drawing sometime between 1710 and 1767. It resides here at the Rijksmuseum. Editor: What a curious thing to dedicate a whole sheet to. It almost feels voyeuristic, even though these are clearly academic studies. There's something strangely intimate about disembodied legs. Curator: Intimate, perhaps because they are fragments that imply a whole, a body moving, a life lived. Note the delicate ink work. The artist skillfully renders the nuances of anatomy, each calf muscle, ankle, and toe is carefully observed and lovingly brought to life. Editor: Absolutely. I see a dance between precision and freedom here. Look at how the lines vary in thickness, creating a sense of volume and depth. Schenk really understands how light falls on the human form, doesn't he? You can almost feel the tension and weight in these limbs. I wonder what his focus was. Did he want to create perfect individual forms or capture motion? Curator: The draped legs versus the undraped really creates an engaging composition. It leads me to believe his studies leaned heavily on the contrast between form and concealing fabric, perhaps looking at form and texture and what each offers. Editor: Good point. The draped sections remind me of stage curtains, each crease strategically placed, creating both depth and a hint of narrative. What's the point, though, if there's no actual story? Curator: Well, stories are everywhere, or nowhere, right? The placement of these individual body parts evokes a silent language that speaks volumes about classical beauty standards in Baroque art. But I agree, its impact is in what *could* be, or maybe what once was, if only we could remember that feeling. Editor: That reminds me of Rodin’s fragments… Though these sketches don’t necessarily evoke sensuality or passion. But each study showcases the dynamism that a complete work might capture later on. Curator: Well, whether you love the feet or hate the feet, Schenk leaves us with so much to contemplate about anatomy, art, and the peculiar beauty of human form. Editor: Precisely. An intimate glimpse into the artist's world, indeed, where we appreciate his studies but where he helps our legs go on a little journey.