Landschap met twee figuren aan het water 1889

Editor: Here we have Floris Verster's "Landscape with Two Figures on the Water," an etching from 1889 housed at the Rijksmuseum. The textures achieved in the printmaking process are quite remarkable, creating a hazy, almost dreamlike atmosphere. What stands out to you about this piece? Curator: As a materialist, I am immediately drawn to the process of etching itself. Think about the labor involved, the physical act of scoring the metal plate. The controlled erosion from the acid bath, selectively biting into the metal. The consumption of materials: metal, acid, ink, paper. This landscape isn't just an image; it’s a record of those actions, of material transformation. Editor: That's interesting. I hadn’t considered the labor behind it in such detail. So, you see the landscape less as a picturesque scene and more as evidence of a particular type of making? Curator: Exactly. Consider the social context too. Who were these figures? Fishermen? What would their daily lives look like? The image isn’t romanticized; it presents a stark reality of work and sustenance tied to the land and water. Editor: I see what you mean. The rough lines and muted tones seem less about capturing beauty and more about depicting a specific kind of labor. It invites us to contemplate the materiality of everyday existence. Thanks for shedding a light on the artmaking techniques, social class and industrial context in the piece. Curator: And you have shown us a landscape becomes less a scenery and more of a material process.