Vlakken met distels, artisjokken en vlinders before 1897

Curator: What a curious image, isn’t it? Almost ghostly in its presentation. The textures look so intricate, yet somehow faded, making everything feel hushed. Editor: Indeed. This print, titled “Vlakken met distels, artisjokken en vlinders,” translates to "Planes with thistles, artichokes and butterflies." It was created before 1897. Notice how it divides the natural world into structured planes. Curator: Planes is right! There’s something about that imposed geometry that feels almost like a… vivisection of nature. Look at the way the plants are pinned, not to paper, but to these flat zones. The butterfly looks trapped. Does that circle feel like a moon or some portal to you? Editor: Semiotically, that contrast—the softness of the organic forms against the hard geometric shapes—sets up a compelling visual dialogue. Observe the composition: The thistles and artichokes create a dense, thorny frame, but this barrier is punctured by the delicate butterfly, providing contrast and textural tension, softened by watercolor. Curator: That frame feels almost like it's choking the life out of those white wildflowers below. What is interesting here is how they present this violent thing – nature – so very quietly and peacefully. I mean it is the butterfly, but the spines… it's very loaded. What do you think of that flattened perspective there? Almost like you are observing some specimen beneath glass. Editor: Yes, and how this compression flattens depth, forcing the eye to reconcile the intricate details within the tightly bound composition. The pale hues and tones across the picture plane harmonize everything. There’s a quiet rebellion, perhaps? A study of botanical subjugation as perceived against a more significant planar realm? Curator: Maybe a cry for the natural world? The longer I stare, the more I appreciate the artist's bravery in confronting what can be really difficult things and trying to transform that, by presenting these quiet horrors on planes and within frames and geometries. In all this geometry, you could still capture a spirit, you know? Editor: Well, this work allows the viewer space for introspection within these structured planes. Its formal approach brings into sharp relief how human vision and the natural world are inherently framed concepts.