Naakte vrouw met hand op haar hoofd kijkend in een spiegel 1872 - 1934

Curator: This etching, entitled "Naakte vrouw met hand op haar hoofd kijkend in een spiegel" or “Naked Woman with Hand on Her Head Looking in a Mirror", was created by Armand Rassenfosse sometime between 1872 and 1934. Editor: The earthy, reddish-brown tone gives it a really intimate feel. I’m struck by the subject's direct gaze, and the tactile sense of the medium. You can almost feel the texture of the paper, like aged leather. Curator: Absolutely. Rassenfosse was heavily influenced by Art Nouveau. He moved in those circles in Belgium, and there's a real sensuality present here, a departure from academic tradition. The work engages with new ways of representing women and their bodies. Editor: You can see it in the line work. It’s delicate but assertive, a contrast which is fascinating when you consider etching involves labor-intensive processes—dipping plates, acid baths. What a dance between the body, materials, and maker! Curator: Right, it would have been interesting to be a fly on the wall, in his studio while he produced the artwork! Beyond the Art Nouveau context, prints like these played a key role in disseminating imagery to a wider public beyond wealthy art patrons. What stories did this circulate, and for whom? Editor: That reminds me of all those questions about circulation and display: was this originally intended for private collections, or did Rassenfosse aim for broader public access? Curator: An interesting point to consider; he was very deliberate, and made choices. Given his association with Art Nouveau aesthetics and the emergent role of the artist in marketing luxury objects at the turn of the century, it could go either way! Editor: Looking at the materiality, and also thinking about his own commercial endeavors, he was likely quite aware of appealing to different audiences at once, almost bridging high art and popular aesthetics. Curator: Well, I’ve certainly got new questions to ponder after our brief discussion, regarding Rassenfosse’s strategy. Editor: Indeed! I appreciate how this work provokes consideration of not just the artistic choices, but also how materiality, labor, and distribution interact to create cultural value.