Drie jonge vrouwen 1855 - 1865

Editor: Here we have Frederik Hendrik Weissenbruch's "Drie jonge vrouwen," made with pencil around 1855 to 1865. It's currently housed at the Rijksmuseum. I'm immediately struck by the softness of the pencil and the incredible detail in their clothing. What do you see in this piece? Curator: Well, looking at this drawing, I’m immediately drawn to the materials and process. Pencil wasn’t just a readily available medium; its use speaks to accessibility and the potential for mass production of images through reproduction techniques that were developing at the time. Notice the different densities of shading - this indicates layers of graphite, which highlights a specific set of labor, that the artist goes over to reinforce the contrast in what areas, if it where just one time pencil is ran through a paper that would have not worked. Editor: So you're saying the choice of pencil and the artist's technique reveal more about its historical context than, say, just personal expression? Curator: Precisely. Consider how portraits were traditionally rendered. This choice of a “humble” material makes us rethink about who had acess, about how it circulated...The artist may have actively questioned established traditions. Moreover, notice the hands of the figures—what does their depiction suggest about the role and status of women during the mid-19th century? Are they at leisure, occupied by “appropriate” pursuits? Editor: It is a really captivating thing when it comes to status… It’s fascinating how analyzing material choices opens up a whole new avenue of interpretation. Curator: It indeed does. Paying attention to material choices invites us to investigate the broader historical, social and cultural conditions surrounding the artwork’s production and reception. Editor: This has really changed the way I see the artwork. It makes it all the more relatable when it seems like materials speak on their own.