Landschap met bomen c. 1909s

Curator: This is Alexander Shilling's "Landschap met bomen," a pencil drawing on paper dating back to the 1900s. Editor: Oh, this gives me such a quiet feeling, almost like stumbling upon a forgotten corner of a garden. Curator: Indeed. What strikes me is how Shilling reduces the landscape to essential lines. You can see it’s primarily pencil on paper, typical sketchbook fare. Editor: Yes, that minimal approach! It reminds me of a poet's first draft, capturing just the bare essence before embellishment. The tree on the right feels so present, while the others almost fade away. Curator: Precisely! The form is deliberately exposed by a simple mark making, highlighting the materiality of both the pencil and the paper and allowing us to follow the labor of its making. Think of the availability of paper and pencils at this time. Editor: That’s true! It also strikes me how raw it is. Like he captured the idea of the landscape. No attempt to smooth or prettify. More about experiencing and remembering nature. Curator: Perhaps, or even recording and inventorying the landscape and nature itself. He's actively using the language of line. These rapid notations speak volumes about artistic process and intent, the act of rendering landscape, accessible, personal and portable on these unbound sheets. Editor: That is something! It makes me wonder, what exactly was he seeing, hearing, even smelling when making this? It certainly doesn't look finished, yet is so complete in and of itself. It is beautiful in an unfinished way. Curator: I would agree. These open, light renderings provide insight into Shilling's practice and understanding of material culture and its intersection within fine art. Editor: Definitely! Looking at "Landschap met bomen" through your eyes allows for a new awareness that elevates the materials used beyond the usual perception. It's not just a pencil sketch but so much more. Thank you!