Overlijden van Henri van Assche, kunstschilder te Brussel, penning geslagen op last van de kunstenaars 1841

Curator: Here we have a bronze relief from 1841, titled "Overlijden van Henri van Assche, kunstschilder te Brussel, penning geslagen op last van de kunstenaars." It's located here at the Rijksmuseum and the artist is Laurent Joseph Hart. Editor: It's interesting...a bit mournful, predictably. The profile view feels quite stoic. A little heavy, wouldn't you say? Curator: As a materialist, I find the choice of bronze very telling. It speaks to the value placed on Van Assche by the artistic community of Brussels. This wasn't just a fleeting tribute; bronze ensures a sense of permanence and enduring legacy. The fact that the medal was commissioned “op last van de kunstenaars” emphasizes collective artistic labour and memory, an artisan production to monumentalize a master! Editor: Formally speaking, there’s a definite tension between the two sides of the medallion. On one side you have this rather conventional portrait bust—very classical in its restraint. Then you flip it, and you get this allegorical scene packed with symbolism—an easel, palette, wreath…it’s practically overflowing with grief and artistic identity. The use of iconography creates an artistic commentary on grief. Curator: Exactly. Note how Van Assche's artistic identity is explicitly connected with tools, an easel, and symbols in that allegorical tableau. This reminds the observer about the labor process of creating paintings. It reflects the social context of artistic production and memorialization. The medallion highlights the value of his contribution in material terms, by rendering it into an almost financial coin of tribute. Editor: The inscription encircling the design does further that connection too, binding it all. I find the contrast in depth and relief intriguing; how Hart utilizes this pushes forward Van Assche’s features in contrast with the flattened plane of his surrounding world on one side, whilst the other displays multiple miniature elements on a single field. It makes for such visual storytelling! Curator: Precisely. Think about the implications of distributing such a commemorative piece. Its value doesn't just reside in the intrinsic cost of bronze and labor. But what I keep coming back to is how art gets made and valued, not only in life but in death. And how this process speaks to the collective endeavor. Editor: It really does leave a lasting impression, doesn't it? A solid reflection, materially and symbolically of a life dedicated to art.