Kop 1840 - 1880

Editor: Here we have Johannes Tavenraat’s “Kop,” a graphite drawing from sometime between 1840 and 1880. There’s a certain vulnerability to this sketchy profile, almost as if we’re catching a glimpse of someone unaware. What do you see in this piece? Curator: I see a portrait, yes, but also an exercise in power dynamics typical of 19th-century academic art. Consider who was being portrayed and who was doing the portraying. This "Kop," or head study, wasn’t just about capturing a likeness, but about codifying social hierarchies. What might the class and racial identities of both the artist and sitter reveal about this dynamic? Editor: That's a good point! It really places the work within a broader historical context, beyond just aesthetics. Is there something about the style too? I see it's labeled as Romanticism, and I thought the "Romantic" part was only about showing pretty things! Curator: Romanticism wasn't simply about beauty; it also delved into power structures, the exoticized ‘other,’ and the subjugation of marginalized people through aesthetic representation. Tavenraat’s use of line and shadow, while seemingly innocent, contributes to a visual language that either reinforces or challenges existing social narratives. It’s our job to figure out which. Do you think it elevates the person he drew or judges them? Editor: I hadn't thought about it that way before, but now I see how much more there is to unpack. It really goes beyond just the surface. Thank you! Curator: My pleasure! Examining art through lenses of power and identity helps us engage critically with the past and understand its continued relevance.