Brief aan de Commissie van de Tentoonstelling van Levende Meesters in Den Haag Possibly 1843 - 1844

Curator: Well, let’s look at Christiaan Immerzeel’s "Brief aan de Commissie van de Tentoonstelling van Levende Meesters in Den Haag," likely from 1843-1844. It's ink on paper. Editor: It seems like a simple letter at first glance. But looking closely at the handwriting, the deliberate curves and the neatness… it's like calligraphy elevated. What’s interesting to you about this work? Curator: What intrigues me is how the artist used such common materials, paper and ink, in this time period. Consider the labour invested in making the paper, preparing the ink, and practicing the hand to write so elegantly. This connects "high art", that is drawing and calligraphy, with the work required to produce this piece. Do you think it was an economic object as well? Editor: In what sense? It's hard to imagine calligraphy being an economic act as opposed to creative. Curator: Letters always carry practical and economic weight. They serve to negotiate relationships in all walks of life from private correspondence to financial transactions. How does this complicate the way you look at the art? Editor: I never really thought about a letter in terms of production and labor before! So this letter might represent the effort that went into securing or participating in an exhibition… almost a materialization of artistic networking. Curator: Exactly! By focusing on the material conditions of its making, we gain a richer understanding. The torn paper might even signify the fragility of such artistic endeavors. Editor: That's a fascinating way to look at it. It's amazing how much you can read into everyday objects by considering their history and materiality. Thanks!