Boerderij aan een landweg met bomen by Philip Zilcken

Boerderij aan een landweg met bomen 1867 - 1890

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print, etching

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print

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etching

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old engraving style

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landscape

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road

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realism

Dimensions: height 230 mm, width 183 mm

Copyright: Rijks Museum: Open Domain

Editor: This is "Boerderij aan een landweg met bomen," or "Farm on a Country Road with Trees," by Philip Zilcken, likely created sometime between 1867 and 1890. It's an etching, currently housed at the Rijksmuseum. There's such quiet melancholy to it; what do you make of this scene? Curator: Ah, Zilcken. There's a gentleness here, isn't there? He invites us to slow down, to breathe the quiet air of the Dutch countryside. The way the light filters through the trees – do you notice how it almost dances on the road? He’s not just showing us a farm; he's sharing a feeling, a memory, a particular kind of stillness that, to me, speaks of home, and the comforting embrace of nature. But it isn’t overly sentimental, is it? There's a certain starkness to the realism... what feelings does that provoke in you? Editor: I agree. It feels both comforting and a bit lonely. The etching is detailed, yet there’s an atmospheric haze. Curator: Exactly! He's capturing not just the visual reality, but the *emotional* reality of that scene. Think of how many artists were idealizing landscapes back then. Zilcken chose instead to offer a glimpse into something far more authentic, far more intimate. And the road, of course! It’s a powerful symbol. Where does it lead, do you suppose? Editor: Somewhere quiet and unassuming, probably, but I am very curious. Curator: It's beautiful how such simple strokes can evoke such profound feelings. I almost feel the crunch of the path beneath my feet. I keep wanting to peek behind that barn to see where the lane goes. What have you discovered exploring Zilcken? Editor: That he can certainly transport you with some skillfully placed lines and shading! Thanks! Curator: My pleasure! Art is always enhanced by an engagement between it, the creator, and us, the beholder.

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