Dode hazen Possibly 1869

Editor: Here we have Johannes Tavenraat's pencil drawing on paper, "Dode hazen," or "Dead Hares," potentially from 1869. It's a somber piece; the hares appear so still. It almost feels voyeuristic, peering in on something so vulnerable. What stands out to you when you look at this sketch? Curator: It’s the apparent ease with which Tavenraat captures such a poignant subject, isn't it? The loose, almost whimsical lines belie the gravity of the scene. You mentioned vulnerability. I see that, but I also wonder if there’s a certain dispassion. It’s a study, almost scientific, don’t you think? Do you sense a tenderness in the depiction, or is it more observational? Editor: That’s an interesting point! I initially leaned towards tenderness, but now that you mention the scientific aspect, I see it too. The starkness of the drawing, the absence of a lush background, really directs our attention to the anatomical details, doesn't it? Curator: Exactly. Think about the tradition of the still life. It's about mortality, decay. Yet it can also be about admiration for the subject, for its texture, form, color... Here, Tavenraat uses the simple medium of pencil to play with those very notions. It’s as though he’s asking us: What do we truly *see* when we look at death? Editor: I suppose that transforms a seemingly simple sketch into something far more thought-provoking. It's not just a depiction of dead hares, but a reflection on observation, mortality, and perhaps even the role of the artist. I'll never look at still life the same way again! Curator: It's amazing what a simple sketch can unveil! And sometimes, it’s our own initial impressions that unlock even deeper levels of understanding, isn't it? It's what makes experiencing art such a journey.