Gezadelde ezel c. 1935 - 1936

Editor: Here we have Cornelis Vreedenburgh's "Gezadelde ezel," or "Saddled Donkey," a pencil drawing from around 1935 or 1936. It’s a fairly simple sketch, almost austere, yet there's something poignant about the animal's posture. How do you interpret this work? Curator: What strikes me is the socioeconomic context implied within this seemingly simple sketch. Donkeys, historically and even presently, are often linked to labor, poverty, and marginalization. Vreedenburgh, sketching a saddled donkey, perhaps inadvertently touches on themes of class and exploitation. Where was this drawing made? Was the artist engaging with a specific community or issue at the time? Editor: The Rijksmuseum collection attributes it to Vreedenburgh's travels through Italy. Curator: Italy in the 1930s was grappling with the rise of Fascism, and the idealization of rural life was a prominent theme in the regime's propaganda. Does the "saddled" aspect suggest an imposition, a forced servitude mirroring the political climate? Consider how the artist positions the donkey—is it a neutral observation, or is there a subtle commentary on the burden carried by the working class under an oppressive regime? Editor: I hadn't considered that angle. I saw the saddle as just part of the animal, but now I see it could symbolize a larger structure of control. Curator: Precisely. Art often functions as a mirror reflecting the societal tensions of its time. Even a seemingly innocent sketch can reveal layers of meaning when viewed through a critical lens. Editor: Thank you, I'll never look at a simple sketch of an animal quite the same way again. Curator: And I hope you continue to probe, challenge, and connect these visual clues with the realities of the world around us.