Hedendaagsche trots 1923

Editor: Erich Wichmann’s 1923 pencil drawing, "Hedendaagsche trots," features this elongated, almost caricature-like figure. It feels incredibly stark and minimal. What do you make of its simplicity? Curator: The essence lies in the materials and the process, wouldn't you say? Notice the raw paper, the tentative lines. It is a drawing, likely a sketch for something more elaborate, created during a time when mass production started dominating. It is interesting how the artist calls this contemporary pride, maybe even an ironic reference to industrialization's impact on the art world. What would it mean to make this in lithography and what connotations of labour and cost would change? Editor: I see your point. I hadn't considered the potential tension between the hand-drawn quality and the "contemporary pride" element. Curator: Exactly! Consider the choice of pencil, readily available and relatively inexpensive, in contrast to, say, a meticulously carved sculpture in marble. This sketch democratizes art making, suggesting pride not in monumental accomplishment but in the simple act of creation. It challenges traditional boundaries between art and craft. Editor: So, the value lies not in its polished appearance, but in its directness and the accessibility of its materials. Curator: Precisely. Wichmann seems to be engaging in a commentary about the changing landscape of art production and consumption during that era. He’s saying that pride isn't reserved for the wealthy commissioning grandiose works. Pride could be taken even by everyday people engaging in simple craft practices or witnessing simple crafted lines. Editor: This gives me a whole new perspective to consider. The materiality speaks volumes about the intention and its relationship to its time. Curator: Indeed, looking at it through the lens of its material existence reveals its critical stance.