Paard, van achteren gezien 1881 - 1883

Curator: Breitner's "Paard, van achteren gezien," created around 1881-1883, captures a horse from behind in pencil on paper. The quick, sketchy lines give it a sense of immediacy. Editor: It does! It feels unfinished, like a snapshot in time. What's your take on it? Curator: As a materialist, I see more than just a sketch of a horse. Consider the cheapness of the paper, the ready availability of pencils. This isn’t some grand history painting; it’s about recording everyday life in the city. What can the rapid execution suggest? Editor: So, the medium itself, the drawing on paper, reflects a certain social or economic reality? Curator: Exactly. Think about Breitner’s Amsterdam. Horses were ubiquitous; they were labor. This isn't a prized show horse, but a working animal, perhaps captured during a break. The very act of sketching—rapid, reproducible—aligns with the burgeoning industrial spirit of the late 19th century. Do you see the contrast with how horses had previously been immortalized in art? Editor: Definitely. More formal, idealized depictions come to mind. This feels… real, and immediate. Curator: The hurried lines hint at the fleeting nature of urban life, the constant movement of goods and people, all powered, in part, by animals like this. Consider the physical labor, both of the horse and of the artist in rendering its form with such urgency. Editor: That makes me see it differently now. It’s not just a drawing, it's a document of its time, shaped by materials and modes of production. Curator: Precisely. Art is always embedded in its material conditions. What seems like a simple sketch is actually a window into the social and economic landscape of Breitner's Amsterdam. We moved beyond aesthetics and addressed conditions of art-making! Editor: Thanks, I hadn't considered how much the materiality contributes to its meaning!