Zelfportret op lineaire wijze Possibly 1941 - 1948

Editor: So, here we have Cor van Teeseling's "Self-Portrait in a Linear Style," likely created between 1941 and 1948, made with pencil on paper. It's surprisingly sparse, almost skeletal. What strikes you most about this portrait? Curator: For me, the intrigue lies in its deceptive simplicity. It's not just a likeness, but an artifact of labor and a statement on artistic production. Think about the paper itself, likely rationed or difficult to acquire during those war years. This humble material becomes a stage for self-representation under constrained circumstances. How does the economic situation surrounding the production influence your reading? Editor: That’s a great point. I hadn't considered the implications of the paper shortage. So, the deliberate choice to use such a minimal technique and medium becomes…what, an act of resistance? Curator: Perhaps not resistance, but certainly a conscious commentary. This isn’t oil on canvas commissioned by a wealthy patron. This is pencil, a readily available tool, enacting a kind of democratic portraiture. We can appreciate its materiality, but also it stands in stark contrast to more opulent or ‘official’ art. Editor: That really changes my perspective. It feels like a statement about the accessibility of art, or perhaps even a subtle dig at traditional art hierarchies. Did Van Teeseling's choice of materials have broader social or political implications at the time? Curator: Absolutely. Remember, the art world was undergoing significant shifts, grappling with new media and challenges to established norms. His portrait participates in these conversations by showcasing the inherent value found even in the 'lowliest' of artistic processes. Think about the role of drawing, often seen as preliminary, being elevated here to the finished work. Editor: Wow, I’m really seeing how the materials and process speak volumes. It's more than just a self-portrait; it's a reflection on the act of creation itself! Curator: Exactly! By focusing on the raw materials and minimal technique, Van Teeseling challenges us to re-evaluate the value we place on artistic labor and its societal context. Editor: I learned to dig deeper and consider what are materials hinting at. Curator: And it teaches us how to be inquisitive about seemingly banal objects and subjects.