Zonnebloem 1919

Curator: Julie de Graag created this striking linocut, titled "Zonnebloem," or "Sunflower," in 1919. It's currently held here at the Rijksmuseum. Editor: Right off the bat, it hits me with this raw, almost brutal energy. That black ink on the pale paper, it's so direct. The flower almost looks defiant. Not your typical sunny, happy sunflower. Curator: It’s interesting you say that. De Graag was working during a period marked by significant social and political shifts following the First World War. Do you think the starkness and symbolism relate to that era? Editor: Totally. There’s a weight to it. Those leaves aren’t just decorative; they feel almost protective, like shielding the flower. It’s a vulnerable strength. You see that, the bold cuts of the linocut give a sense of movement and growth. I wonder what drove her to linocut from the usual medium in that day. Curator: While art nouveau typically employed flowy designs, de Graag's piece showcases some symbolism, she seemed to find this medium quite apt at expressing herself, perhaps the carving required gave the output piece a depth of meaning beyond what the image already portends. Editor: It is almost as if she forced herself into it. If that makes sense. So raw... it gives the artwork such strength. What did people feel about it then? Was she revered? Or shunned for not painting with oil like other female artists during the days? Curator: The reaction to her work then reflects a complex interplay of factors; the rise of modern art movements challenged conventional tastes; the avant-garde audiences appreciated De Graag’s work while it was faced some rejections elsewhere. We’ll never know the complete picture. Editor: The more I stare into the print, the more layers of stories and possibilities unfold, hidden between the sunflower's leaves. Curator: I appreciate that you perceive the linocut in such personal and poignant terms. Editor: What could I say, this piece inspires the soul!