Schetsboek met 24 bladen c. 1928

Curator: Standing before us is "Schetsboek met 24 bladen," or "Sketchbook with 24 Pages," crafted around 1928 by Carel Adolph Lion Cachet. It resides here at the Rijksmuseum. Editor: Well, visually, it projects a sort of quiet restraint. The raw, earthy tones create a closed off feel, it feels almost impenetrable. Curator: That "impenetrable" quality may mirror Cachet's evolving artistic practice. At the time of its creation, the social and political landscape in Europe was particularly complex, rife with rising nationalism. There were often constraints placed on artists. A sketchbook could serve as a safe, private space for reflection away from all of that. Editor: But doesn’t the seeming emptiness almost create its own form of semiotic meaning? The material qualities here - the texture of the paper, the binding, that almost clinical-looking label in the corner - aren’t they speaking just as loudly? Curator: I would argue they amplify the silence. These aren’t random visual elements; they become emblematic of controlled expression and even muted protest. The limited palette could be seen as an artistic choice that mirrored limited freedom of expression. What is hidden within its pages becomes paramount, because we know it exists, even if we cannot see it. Editor: Hmmm. I see the texture of the cover almost calling out to me though – creating tension with what the notebook’s function should be: visual experiences waiting to be seen. It has an element of functionality fighting a minimalist aesthetic, if you look at its line and form. Curator: It makes me ponder how a tool intended for boundless creativity can simultaneously embody social constraint. I imagine Cachet grappling with these tensions in his other works. Editor: I guess I leave seeing a silent dialogue around constraint. On one hand, a form that embraces a clean minimalist design, with every color, shape, and element strategically in place. On the other hand, I realize there may be commentary on the limits put on certain classes, which really opens the piece up.