Brief aan Philip Zilcken Possibly 1919

Rose Imel created this letter to Philip Zilcken sometime in the early 20th century, probably using a fountain pen and ink on paper. The handwriting swoops and curls, and the ink bleeds a little into the fibers of the page. I can just picture her, sitting at a desk, pausing every now and then, thinking about just the right turn of phrase. Imel’s careful script, with its personal rhythm and flow, reminds me that writing, like painting, is a physical act. Each letter, each word, emerges from a series of decisions and gestures. The pressure of the pen, the angle of the hand, and the speed of the movement all contribute to the unique character of the text. The way artists use line, whether with a pen or a brush, is part of a continuous exchange of ideas. Each artist picks up where another leaves off, responding to and reinterpreting the traditions of the past. Just as artists like Cy Twombly transformed handwriting into a painterly gesture, Imel gives us a glimpse into the intimate connection between language, mark-making, and personal expression.