Lijkstatie van Wolter Jan Gerrit baron Bentinck te Amsterdam, 28 Augustus 1781 1781 - 1783

Editor: Here we have Jacobus Buys’ “Lijkstatie van Wolter Jan Gerrit baron Bentinck te Amsterdam, 28 Augustus 1781,” made between 1781 and 1783, using pen and ink. It’s a detailed depiction of a funeral procession. There are so many figures, all meticulously rendered with such fine lines. What strikes you most about this piece? Curator: I'm immediately drawn to the materials: the pen and ink. Consider the labour involved in creating such a detailed image solely with these materials. The controlled, repetitive action of the pen, creating a permanent record. Do you notice how the uniformity of the strokes mirrors the social uniformity being depicted in the scene? Editor: I see what you mean. The sheer number of people dressed in similar attire really emphasizes that, yes. Curator: Exactly! It’s about social hierarchy and the material reality of production reinforcing each other. The making of this image mirrors the making of society at the time. And look at the cityscape—a carefully constructed environment reflecting economic power. The production of the built environment, the clothing, even the drawing itself are all part of the same network of power and material exchange. Consider also how this contrasts with more ‘high art’ forms like oil painting. Editor: That's fascinating; I hadn't considered the class implications of the artistic materials themselves. This was created to record this pomp, and now it becomes an artifact revealing class distinctions in Amsterdam. Curator: Precisely! The drawing serves as a material testament to that reality. Reflecting on this, I find that thinking about the materials used can provide a unique lens through which to examine and critique power structures embedded within historical moments. Editor: I will certainly keep that in mind! Thanks so much for your insights.