Flankeur en Fuselier van het Regiment Zwitsers no. 29 1823

Curator: This vibrant piece by Antoni Zürcher, crafted in 1823, depicts two soldiers, titled “Flankeur en Fuselier van het Regiment Zwitsers no. 29." Editor: My first impression is the meticulous detail in rendering their uniforms. It speaks volumes about societal pride vested in martial display, doesn't it? Curator: Precisely. Zürcher was a master of capturing not just likeness but also the precise details of rank and regalia. It is a watercolor drawing on paper, housed here at the Rijksmuseum. Editor: Looking at it now, beyond the artistry, I'm drawn to the actual labor involved in equipping a soldier then. The layers of uniform, the heft of the rifle... what kind of conditions shaped such elaborate gear? Curator: Good question! Consider the social context – these men are part of a Swiss regiment. Switzerland at this time was essentially renting out its soldiers as mercenaries. Their bodies and skills were commodities, quite literally manufactured for war. Editor: It’s fascinating how Romanticism embraced themes of nationalism while also reflecting the individual within these systems. Look at their faces – a touch of idealism, maybe, but also a sense of duty, a cog in this machine you describe. How are the watercolors laid down, any visible under drawing? Curator: Indeed. The composition reinforces this: one facing forward, engaged, the other turned away, perhaps contemplative, yet bound to the same fate. If you inspect closely, there is a sense of control, thin layers with little impasto; the drawing is well defined by linear markings. Editor: So, beyond national pride, is this watercolor maybe gesturing at some anxiety, too? These men become these anonymous, yet individually crafted, figures representing something so much bigger. Curator: Possibly. It offers a chance to reflect not only on a specific regiment but the role of individual labor and lives intertwined within broader political and economic machinations. A watercolor on paper offering a wealth of narratives. Editor: I think so. In seeing them presented with such directness we appreciate how complex even seemingly simple art may represent the larger material world.