Figuurstudies 1884 - 1886

Editor: We’re looking at "Figuurstudies," or Figure Studies, by George Hendrik Breitner, dating from around 1884 to 1886. It's a pencil drawing. It has a very tentative, unfinished feel. What strikes you about this page from Breitner's sketchbook? Curator: I see a fascinating record of artistic labor. Look at the casual nature of the marks, the evident revisions, all laid bare on the page. It’s a glimpse into the *making* of art, before any notions of 'high art' come into play. It really grounds us in the materiality of pencil on paper, doesn't it? Editor: So, you’re focusing less on the subject matter – the figures themselves – and more on the process? Curator: Exactly! Traditionally, we’re taught to value the finished 'masterpiece.' But this drawing highlights the labor, the experimentation, that underpins that polished facade. What kind of pencils were used, for example? What social class would these models come from, and how was Breitner engaging with them in his studio space? These sketches begin to bring those kinds of questions to light. Editor: That makes me think about the role of the sketchbook itself, as a site of production. It’s not just for pretty pictures; it’s a workspace. Curator: Precisely! Think about the social and economic implications: who has access to materials, to models, to the *time* to dedicate themselves to this kind of study? Breitner, coming from a merchant family, had access to those resources in ways that others may not have. Editor: It changes how you see the final, ‘finished’ artworks, when you consider all that went into them. Thanks, that's really interesting. Curator: My pleasure! It's about recognizing that art isn’t just an isolated object, but a product of specific material conditions.