Houthakkers die een boom omhakken 1848 - 1888

Editor: Here we have Anton Mauve's "Woodcutters Felling a Tree," created sometime between 1848 and 1888. It's a graphite and pencil drawing held at the Rijksmuseum. I’m struck by how raw and immediate the sketch feels, capturing a moment of labor. What catches your eye about it? Curator: What immediately jumps out is the depiction of manual labor and its material consequences. Look closely at the graphite marks—they are not just lines, but traces of physical action, mimicking the exertion of the woodcutters themselves. How does Mauve’s choice of a simple graphite pencil shape your understanding of this work, compared to if he had, say, chosen oil paints? Editor: That's a great question. With graphite, the process seems much more direct, almost like a recording of an action. Oil paints might have given it a sense of distance, or perhaps even romanticization. Do you see any indication of his social commentary regarding laborers? Curator: Exactly. The directness is key. And consider the landscape tradition itself – typically focused on grand vistas. Here, the labor process is placed front and center, suggesting a shift in focus towards the everyday lives of working people and the raw materials of production. The consumed wood and forest management were also highly debated topics during the industrialization period of the Netherlands. This pencil sketch participates in that public discussion. Do you agree? Editor: I agree. By showing the physical effort and almost crude materiality of the act, he elevates the status of labor. It's no longer just an aesthetic background, but the central theme. I never thought of landscape in this way. Curator: It's all about focusing on the process, the materials, and how they reflect broader social issues. Editor: That really changes my perspective on landscape art. Thanks!