Liggende geit, naar rechts 1813

Editor: This is Jean Bernard's "Liggende geit, naar rechts," a pencil drawing from 1813 held at the Rijksmuseum. There’s a stillness to it, a peaceful quality I find really appealing. What captures your attention most about this work? Curator: It's the animal’s presence, its very groundedness, that I find compelling. Goats throughout history often carry conflicting symbolism: virility, stubbornness, but also sacrifice. Bernard captures a moment of quietude in this animal. Think about the use of pencil – a humble medium – to portray what, for some cultures, might be seen as a powerful, even divine, symbol. How might this affect our interpretation? Editor: That's a good point. The simplicity of the medium almost domesticates the image, doesn’t it? Curator: Precisely. Instead of the goat being an allegorical representation, perhaps Bernard is simply exploring the intrinsic beauty of the animal, a celebration of the everyday. Consider also how the Romantic era favored the 'picturesque' – finding beauty in the natural world, especially in contrast to the burgeoning industrial landscape. Do you see echoes of that here? Editor: Definitely. The setting is very understated, very much part of nature, it feels very accessible and even intimate, avoiding grandiosity. I hadn't thought about the Romantic context so explicitly. Curator: The personal relationship with the subject is key, wouldn't you agree? The goat becomes relatable, shedding its historical weight in favor of immediate experience. What does the animal's pose evoke for you? Does it suggest anything specific to the time when it was made? Editor: I see a relaxed pose, nothing performative about it. Perhaps reflecting a growing sense of naturalism during the era. I appreciate the connection you made with its grounding force; something for me to explore more in this and other artworks of that time. Curator: Indeed! Every line tells a story, and every symbol echoes within cultural memory. A single drawing of a goat can contain worlds.