Borstbeeld van een jong meisje met loshangend haar 1629 - 1633

Curator: I'm drawn to this print from the early 1630s by Jan Lievens, entitled "Borstbeeld van een jong meisje met loshangend haar"—that's "Bust of a Young Girl with Loose Hair" for us non-Dutch speakers. It’s currently housed here at the Rijksmuseum. What strikes you immediately about it? Editor: She's absolutely swimming in hair! It’s like a visual waterfall cascading around her delicate face. It feels… vulnerable, almost as if she's hiding within it. Curator: The hair certainly commands attention, doesn't it? The symbolism of hair is rich throughout history; in many cultures, long, unbound hair represents freedom, youth, and untamed energy. Given Lievens’ mastery of light and shadow in this baroque etching, do you think this piece signifies pure innocence? Editor: Not necessarily. Look at the precise detail of her neckline, her controlled gaze. It hints at an inner resolve. That wild hair? Maybe that’s a facade, something carefully cultivated to present a specific image to the world. Plus, the slight downward glance speaks volumes; is it deference or defiance? Curator: That’s an interesting reading. Baroque portraiture often played with this tension – revealing as much as it concealed. Notice Lievens’ use of line – the stark contrasts defining her face, softened by the wispy texture of her hair. The work seems to draw upon the techniques and principles perfected by Rembrandt during this period. The two artist’s proximity in Leiden may also account for similarities in technique. Does that inform your sense of the piece? Editor: Absolutely. Rembrandt’s use of chiaroscuro definitely echoes here. What's amazing to me is how Lievens uses etching to suggest not just volume, but also the very texture of individual strands. It’s almost sculptural. The fact that the hair is so unkempt yet so elegant contributes to this strange combination of strength and shyness you mentioned. Curator: This detail also speaks to me. As you suggest, there's something incredibly human, almost unidealized, about her presentation here. The very conscious attention Lievens gives the minute detailing makes her simultaneously universal and particular. The history, medium, and artist combined almost require one to consider the piece. Editor: Yes, Lievens is drawing out that tension—we sense her power precisely because of the perceived disarray. Her face isn't classically beautiful, but compelling, almost enigmatic. You just want to know her story. Curator: Ultimately, what Lievens gives us, as always, is a moment suspended in time, a question lingering long after the viewing. Editor: Indeed!