Runderkop, van voren 1788 - 1839

Editor: Here we have Hendrik Voogd’s "Runderkop, van voren," or "Bull's Head, from the Front," a pencil drawing from around 1788 to 1839, housed here at the Rijksmuseum. It's a rather simple study, but the detail in the shading around the eyes is captivating. How do you interpret this work? Curator: Beyond a simple study, this drawing serves as a lens through which we can explore the shifting power dynamics between humans and animals. Consider the period it was created, on the cusp of industrialization, a time of increasing agricultural intensification. The animal, and particularly the bull, begins to be seen as a commodity, a unit of production rather than a living being with its own inherent worth. Does this portrayal invite a feeling of objectification? Editor: Objectification? I hadn't thought of it that way, but I see your point. It does feel like a very detached, almost clinical observation. Curator: Exactly. The detached realism strips the animal of its agency. This clinical gaze, further empowered through the emerging field of scientific illustration, has significant parallels in contemporary sociological narratives around race, gender, and the power of observation. How do we avoid perpetuating cycles of oppression through such practices? Editor: That's a very important point, especially as we look back on art from previous centuries with modern critical perspectives. Curator: Indeed. Considering these drawings of animal heads as a precursor to modes of control is important. By dissecting these historical works through an intersectional lens, we can bring attention to the ways that similar structures of domination manifest in contemporary society, informing meaningful changes in art as well as human and animal rights. What do you think? Editor: Absolutely, I think by reframing this pencil sketch, you've highlighted the deeper connections between art, power, and ethics. Curator: And that, precisely, is how art remains relevant.