Twee vrouwen, op de rug gezien 1893 - 1894

Editor: So, this is George Hendrik Breitner’s “Twee vrouwen, op de rug gezien,” or “Two Women, Seen from the Back,” made around 1893-1894. It’s a drawing, looks like pencil on toned paper, currently held at the Rijksmuseum. It feels incredibly intimate, like a stolen glance. What strikes you most about this piece? Curator: Well, considering Breitner’s broader body of work, and the cultural context of the late 19th century, I see a snapshot of the burgeoning, yet often concealed, female experience in a rapidly modernizing Amsterdam. These women, presented anonymously from behind, become almost archetypes. Do you think that Breitner was sympathetic towards them? Editor: That’s interesting! I hadn’t really considered it from that perspective. I was more focused on the raw, almost unfinished quality of the sketch. The fact it is drawn in a notebook makes it feel immediate and spontaneous. Curator: Precisely! But where was this spontaneity coming from? Breitner was deeply embedded in the social realities of his time. He wasn't just capturing what he saw; he was participating in the evolving visual language around class, gender, and the changing urban landscape. Was it accepted for women to be outside and visible at this time? How does his impressionism align or diverge from others focusing on images of women in Paris? Editor: I guess it hints at the social dynamics he was engaging with as well, trying to portray the reality that surrounded him. The medium reflects the message. Curator: Exactly! This piece is more than just a drawing; it’s a social document and a visual manifesto. It raises questions about who has the right to representation, and in what form. Editor: It’s amazing how much can be unpacked from a simple sketch. Thanks! Curator: My pleasure. Now, imagine how these women themselves might have interpreted this representation. That's where the real history begins, isn't it?