Studies van een engel, een man, een ezel en een konijn c. 1600 - 1625

Editor: This drawing… it's like a page torn from someone's dream journal. Scattered figures, loose lines – very whimsical. Curator: Indeed. What we’re looking at is "Studies of an Angel, a Man, a Donkey and a Rabbit" by Gerard ter Borch, likely created sometime between 1600 and 1625. It's currently held in the Rijksmuseum. Editor: “Studies” is the right word. They’re not quite coexisting, are they? Each one seems captured in its own little world on the page. It feels…fragmented, unfinished, which is strangely appealing. Curator: Ter Borch was a master of genre painting, portraying everyday life, and here we see a glimpse into his process. The grouping challenges our assumptions. The presence of an angel brings to mind divine commission or spiritual encounter. And considering his later artistic practice, perhaps, here, ter Borch is subtly critiquing the social hierarchies of his time. Editor: Ah, yes. The rabbit's caught my attention—its frantic energy in contrast with the melancholy pose of the man leaning against the structure. There’s tension there, isn't there? As if these are preliminary characters, almost like, waiting for a play to begin. Curator: I agree; the juxtaposition of sacred and profane figures contributes to a rich dialogue. Consider the angel; are they bringing a message to humankind or in humble submission? It reminds me of debates surrounding the roles afforded to women at the time. Their purpose seemed narrowly defined, a sharp contrast to a divine agent. Editor: That’s beautifully put! Looking at it again, the sepia ink gives it a warm, nostalgic glow. A window into a world that could have been. The economy of the line work is remarkable: so much conveyed with such minimalist effort. Curator: Ter Borch, throughout his practice, encourages that reflection. By drawing us in with familiar figuration and scenes, and including divine elements, we have to ask questions not only about his figures but about ourselves. What part do we play in this landscape? Editor: Absolutely! It’s a gentle prodding to consider our relationship to…well, everything! Earthly and divine, all on one beautiful, mottled piece of paper. I feel almost voyeuristic looking at someone’s initial sketches, but the historical lens definitely frames this work in very powerful way. Curator: Indeed, it is this complex layering, which keeps me returning to the work as I'm always finding something new to consider! Editor: Exactly! It's like a map – both a place to get lost and to chart new territories.