Drie ruiters bij een huis met hoog, gebroken dak 1773 - 1843

Editor: This drawing, "Three Riders by a House with a High, Broken Roof," is attributed to Georges Michel and dates roughly between 1773 and 1843. It's a pencil drawing, giving it this ethereal, almost dreamlike quality. What strikes me is how the rough sketching style contrasts with the grand architectural subject matter. What can you tell me about it? Curator: Consider the social context. Pencil, as a medium, became increasingly available during this period, fostering a new culture of sketching and documentation among a wider range of individuals, moving beyond just the established academies. Editor: That’s interesting. So, you're suggesting the accessibility of the material democratized art making, shifting the focus away from exclusively elite artistic circles? Curator: Precisely! Think about the implications of widespread access to this medium and the ability to capture the world around you, not just idealized or commissioned scenes, and what effect might it have on artistic styles. Note the “broken roof.” Is this a deliberate detail emphasizing reality rather than an aspiration? Editor: Yes, I see what you mean. Rather than grand, flawless architecture, there’s an attention to lived reality. But does Michel’s background influence our reading of the "broken roof"? Curator: Absolutely! How does that change your perception of the subject matter in terms of its relation to labor, perhaps maintenance, neglect and consumption? Is it about the consumption of architectural prowess or the consumption of landscape? Editor: I never thought about a landscape in terms of consumption. I had mainly focused on the "romantic" style, missing a material view on Romanticism itself. Thanks! Curator: Exactly! The pencil drawing itself challenges traditional boundaries by its very nature and ease, placing value not just on the result but also the means of its production and its social availability. It speaks volumes.