Hoofd, in profiel c. 1915s - 1925s

Editor: This is Isaac Israels’ “Hoofd, in profiel,” or “Head, in Profile” created sometime between 1915 and 1925. It’s a delicate drawing, ink on paper, and feels so ephemeral. What do you make of it? Curator: Ephemeral is the perfect word! It's a fleeting glimpse, isn't it? Like catching a half-remembered dream. Israels had such a keen eye for capturing a sense of immediacy, the "now" of a scene. Look at those lines – they’re so minimal, just enough to suggest a face, a hairstyle. Do you feel you get a sense of who this person is, even with so little detail? Editor: Hmm, it’s more of an impression than a defined identity. More about a feeling of contemplation, maybe? Curator: Precisely! And that's where the beauty lies, for me anyway. It's not about likeness; it’s about the essence of observation. Israels was working in a period of incredible social and artistic change. How do you think that context informs his portraiture? Editor: Maybe it's a rejection of formality? Like he's trying to capture something more authentic than a traditional portrait would allow? Curator: Yes, and it's also about intimacy. This feels like a private moment, a sketch from a personal notebook, not a grand commission. Perhaps even Israels processing how the war years changed us, the world... changed everything. What will endure, what's merely incidental? I’m fascinated by how he managed to convey so much with so little. Editor: It’s definitely made me think about the power of suggestion in art. Sometimes less really is more. Curator: Absolutely! It’s a reminder that art isn’t always about perfect representation, but about capturing a feeling, a mood, an idea. Isn't it fabulous how a simple line drawing can resonate so deeply?