Portret van Carel Jacobus Freund 1823

Editor: Here we have Christian Heinrich Gottlieb Steuerwald's 1823 pencil drawing, "Portret van Carel Jacobus Freund". It has a somber mood to it, especially conveyed in the hatching work across his dark uniform. What stands out to you most about this piece? Curator: It's intriguing how a simple material like pencil becomes a tool for social commentary. Steuerwald's choice of pencil—readily available, relatively inexpensive—democratizes portraiture, pushing back against the exclusive, painted portraits of the wealthy. The very act of sketching, rather than painting, speaks volumes about the subject's position in society and Steuerwald's own role as a producer. Editor: That's fascinating. I hadn’t considered the social implications of using pencil versus paint. Do you think the subject’s uniform plays into that reading? Curator: Absolutely! Consider the materiality of the uniform itself – the fabric, the buttons, the epaulettes. Each element represents a level of manufacturing, a chain of labor. His identity is deeply tied to production, much like the drawing. The shading, applied meticulously by hand, represents labor, making it tangible. Who created that uniform? How were the materials sourced? It reveals so much about the structures of power at play in 1823. Editor: So it's not just *what* is depicted but how it’s all brought together. It does change how I view the art object itself, less about aesthetic pleasure and more about historical context. Curator: Precisely. Examining the materials and process unravels a complex web of social and economic relationships. Steuerwald’s pencil is more than just a drawing tool; it's a window into the making of identity and power. Editor: That’s definitely a different perspective than I normally take. I’ll keep that in mind moving forward. Thanks.