Zelfportret: B-1-1, 28 februari Possibly 1942

Curator: Standing here, we see "Zelfportret: B-1-1, 28 februari," a self-portrait potentially from 1942 by Cor van Teeseling, currently held in the Rijksmuseum. The work is rendered in pencil on paper. Editor: My initial feeling is... vulnerability. There's a directness to the gaze but also an almost unsettling fragility to the lines, as if he's sketching out a fleeting, uncertain version of himself. Curator: That perceived fragility likely arises from the medium itself, pencil—readily erasable, easily smudged, allowing for revisions. It suggests an ongoing process rather than a definitive statement, appropriate perhaps for the turbulent period and reflecting shifting societal and economic dynamics surrounding the production and reception of art at the time. Editor: Exactly! Like, he’s figuring it out as he goes, you know? The heavy pencil lines around the eyes create shadows that almost feel like he is trying to hide, or the weight of something is bearing down on him. It's poignant, really, considering the possible date of its creation during wartime. What do we know about van Teeseling’s artistic practice? Was he working in isolation? Curator: Historical evidence indicates limited accessibility to art materials coupled with strict regulations would have significantly shaped his artistic means of production. The reliance on pencil points toward resourcefulness in the face of scarcity, making this self-portrait not just an act of introspection but a record of material constraints shaping artistic creation. Editor: That's fascinating. It makes me think about what tools artists choose and how that choice shapes what they are expressing. What can a pencil do that oils cannot? This delicate portrait invites intimacy but maybe it hints at deeper unrest. It gives you this sense that beneath the delicate shading and humble materials lies a complex emotional terrain. Curator: It's true. His decision to employ such a modest medium transforms the self-portrait into a profound statement on the artist’s socio-economic standing, labor invested in self-representation, and his access to the tools to facilitate such a representation. Editor: I guess it just makes you appreciate how much an artist can convey, regardless of materials available. It definitely encourages me to rethink the stories objects carry!