Vrouw met een mantel en een stok by Anthonie Willem Hendrik Nolthenius de Man

Vrouw met een mantel en een stok 1824

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drawing, pencil

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portrait

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pencil drawn

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drawing

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pencil sketch

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figuration

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pencil drawing

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romanticism

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pencil

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genre-painting

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realism

Dimensions: height 105 mm, width 62 mm

Copyright: Rijks Museum: Open Domain

Editor: Here we have "Woman with a cloak and a stick", a pencil drawing created in 1824 by Anthonie Willem Hendrik Nolthenius de Man. The use of such delicate lines and the somber tone really sets a mood for me. What strikes you most about the composition? Curator: The beauty of this piece resides in its line work. Notice the artist's sophisticated modulation of the pencil’s pressure. Observe how the density and direction of the lines generate the textures of the cloak and dress, and give volume to the figure. It moves from the ethereal, light strokes delineating her face, to the assertive cross-hatching that defines the shadows beneath her feet. Editor: The attention to light and shadow is remarkable, giving form to an otherwise simple scene. I’m also curious about the cloak itself – the way it drapes seems so deliberate. Curator: Precisely. The drape of the cloak functions formally; it’s not simply a rendering of fabric. It is a powerful compositional tool, drawing the eye downwards, establishing a visual anchor that balances the figure’s slight contrapposto. Semiotically, the cloak evokes ideas of protection, while simultaneously obscuring, and rendering the figure more remote. Editor: That makes a lot of sense. So, beyond just the subject matter, you are highlighting how the artist is arranging the visual elements for a specific purpose, playing with the balance between light and dark, weight and air. Curator: Yes, and do not discount the very materiality of the artwork itself. This is a pencil drawing. Think about the directness and intimacy of that medium. There’s an immediacy, a sense of the artist’s hand directly at work. The work's visual qualities contribute to its effectiveness as a formal exercise, rather than a narrative. Editor: I see, by thinking about line, shading, and even the material, we can appreciate the artist's formal decisions in constructing the image, rather than looking for any obvious story it might tell. That’s really changed my perspective on the piece!

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