Woonvertrek van een arbeidersgezin 1857 - 1864

Editor: Here we have "Woonvertrek van een arbeidersgezin", or "Living room of a working-class family," an etching by Emrik and Binger from between 1857 and 1864. There's almost a documentary feel to it, showing what I imagine is the very cramped existence of a family. It seems rather bleak to me. What jumps out at you when you see it? Curator: Bleak, yes, but also strangely warm. Do you feel that odd tension? This print, to me, sings a story not just of hardship, but also of incredible resilience. The way they are huddled, the shared looks and the way the interior has its own complex order and design - like the ladder heading towards an uncertain storage loft. I find myself wondering, what did they treasure and store up there? What does family mean in this drawing? Editor: Resilience… I hadn't considered it that way. I was too focused on the somber tones and tight space. But you’re right, there’s a closeness too, the figures are all kind of enmeshed together within that tiny room, but its busy, not static. Why did the artist use printmaking to render a scene that he actually experienced first hand? Curator: A tricky question! On the one hand it flattens some of the depth that may have been there and emphasizes the realism of their shared and busy domestic setting. The lines etch deep into the metal, mirroring, perhaps, the etchings of labor on these bodies. But I am really seeing it and noticing this detail for the first time! Editor: So, in a way, the medium reinforces the message? Curator: Exactly. It forces us to engage with the image on a level beyond just observation. It becomes almost tangible, etched in our minds, just as it's etched on that plate. What will you think about it from now on? Editor: I think I will look at the ways different artistic choices make art more potent or effective at moving people. Curator: Yes, I think that will really shape your experience!