Staart en vooraanzicht van een snoek 1876 - 1924

Curator: This pencil drawing, made between 1876 and 1924 by Gerrit Willem Dijsselhof, captures both the tail and a frontal view of a pike. It's currently held here at the Rijksmuseum. What’s your initial take? Editor: It's stark. There's something about the direct gaze of the fish, coupled with the fragmented portrayal, that feels almost confrontational, like a statement on vulnerability. Curator: I see that. The face, even in its simplicity, evokes a very human sense of alertness, maybe even apprehension. Fish are potent symbols. The pike, in particular, is often associated with aggression and predatory behavior. Could Dijsselhof be exploring deeper themes here? Editor: Potentially. Consider the timeframe; the late 19th, early 20th century saw increasing industrialization impacting natural habitats. Was this fish portrait a comment on ecological disruption, the diminishing power of nature in a rapidly changing world? Curator: The drawing technique does feel important. These quick graphite lines suggest a rapid study from life. A memento mori, even? Fish have been emblems of transformation and fertility since antiquity. Perhaps Dijsselhof tapped into these ideas. The Rijksmuseum says this comes from a sketchbook. It's just one page among others, which brings interesting inferences. Editor: Interesting. Placed in the context of a sketchbook, its raw immediacy suggests a practice of observation. But it also reflects the exploitation of natural resources during this period. Perhaps these are quick captures of animals diminished by humanity's impact. The seemingly simple depiction of a fish becomes loaded with anxieties about ecological loss and damage. Curator: That's a reading I hadn’t considered, focusing on loss and the violence against nature. Editor: That is an important point that it made me think about further. Thank you for highlighting it, maybe these interpretations help to remind of the importance that a small study drawing can convey about its subject.