Façade van het pand Krom Boomssloot 71 in Amsterdam before 1909

Editor: Here we have Willem Witsen’s graphite drawing, "Facade van het pand Krom Boomssloot 71 in Amsterdam," created before 1909. It's currently housed in the Rijksmuseum. I'm immediately struck by the density and the angles. It's almost claustrophobic. How do you interpret this work? Curator: I see it as a window into a specific social reality, quite literally. Amsterdam, pre-1909, was undergoing rapid urban change. Who had access to these views? Who lived in these buildings, and who was excluded? The close, almost suffocating perspective might reflect a sense of confinement or the density of urban life experienced differently based on social class, gender and race. What does the materiality of graphite—a readily available and affordable material—suggest about Witsen's practice and perhaps his intended audience? Editor: That's interesting. I hadn’t thought about the accessibility of graphite. Curator: Consider also the vantage point. Are we looking down, looking up, or is it a level gaze? What power dynamics are at play in this depiction of the facade? Does the artist's choice to focus on a seemingly mundane subject matter, like a building facade, challenge the traditional hierarchy in art that often privileges historical or allegorical narratives? Editor: I suppose it shifts the focus to everyday life. It makes you consider the architecture as a reflection of the city and the people in it. So it's a drawing of a building but actually a social commentary. Curator: Exactly. Witsen compels us to examine the social and historical fabric embedded within the architectural details, challenging us to critically engage with urban development and its implications for marginalized communities. It speaks volumes about urban identity. Editor: This has completely shifted my understanding. Thank you. Curator: My pleasure. Art becomes truly alive when we connect it to its historical context.